Brief figures of speech

The uncertainty often sought after in art, in particular the mixing up of different sensations, is considered elsewhere as harmful to clear and reasonable thought, leading Descartes to comment on metaphysical things [267]: «…those who want to use their imagination to understand them, do so as if, to hear sounds or smell odours, they were trying to use their eyes…»

Let us consider what Baudelaire wrote [[1065]] in Index II (Poems)">[[1065]]: «I have not forgotten, not far from the town,
Our small but tranquil white house;
Its plaster Pomona and old Venus
Hiding their bare limbs in the meagre copse…» Here the felt (Pomona/-plaster) was indeed conceived with the intention which is easily shown in (Pomona-.-statue-.- represented-.-representing). The shortened version represents “…Its statue of Pomona, made of plaster…” The cultural milieu in which intelligence can flourish becomes the source of a way of thinking in which every weakness is underlined.

This preparation for the efforts of measuring often leads to a greater understanding of the situation of the felts, in particular their relationships with the tartans. Let us look carefully at «There are perfumes as cool as the flesh of children…And others, corrupt, rich and triumphant…Like amber, musk, benzoin and incense…» It is possible to imagine indirectly a series of felts written with a view to abbreviate “There are perfumes as cool as the flesh of children…and others -serving corrupt people who sing of their joy in having riches and triumph- like amber, musk, benzoin and incense…» The name of the object replaces that of the person using it [321]-[347].

One might as well say that women are purely invented beings [[987]] in Index II (Poems)">[[987]]: «For me, poor poet,
Your sickly young body
Covered in freckles
Has its sweetness;

You wear more gallantly
Than a lover’s deceiver
Wears her velvet buskins
Your heavy clogs.

In place of too-short rags,
Let a superb court dress
Trail its long, rustling folds
Down to your feet;

In place of stockings with holes,
For the eyes of roués alone
Let a gold dagger again
Gleam against your leg;

Let the unfastened ribbons
Unveil for our sins
Your breast whiter than milk
All fresh and new…»

In the cases of both the felt and the analogy, a lacuna in the way of thinking is filled but the parallel in situation is far superior with the tartan. Regarding (others./corrupt) we come very close to the narrowest sense of (perfumes others-.-corrupt-.-men-.-corrupt). Baudelaire, protected by the apparently traditional manner of his thinking, could thus keep his audience while going slightly further into the images of corruption. Though innovative, the nature of his work was nevertheless in keeping with certain trends of his age [892]-[896]. Understanding there were many facets in the judicial proceedings against him, in August 1857 when he was accused of immorality, before and after many others, the poet must even have imagined that he was the embodiment of truth or goodness [622]-[623]. Maistre wrote [517]: «…the just man, suffering intentionally, does not satisfy only for himself, but for the guilty person who, on his own, could not discharge himself.» The same sombre theosophist also declared, arguing against his opponents within Christianity [519]«They said: "The Man-God has paid for us; so we need have no other merit"; they should have said: "So the merit of the innocent can serve the guilty."» Whatever the flaws in his thinking, the noble scholar from Savoie inspired Baudelaire, in spite of his difficulties in reconciling this with his love of all things English.

Love between equally noble young people, celebrated by Corneille, could not be the sole model for the poet of irony as shown by Louis Ulbach [609]: «I can still see the delicate smile, the mocking look, in its courtesy, […]. Each one recited his most recent work. It must be admitted that our souls were pure and that angels, vaporous loves, ineffable impressions…were reflected in our verses. Baudelaire, having allowed the crystal-clear stream of our poetry to wash over him, took his turn to speak. He started in a deep, slightly tremulous voice, with an aesthetic air, and recited the poem "Manon la pierreuse". With the first rhyme came the mention of Manon’s "muddy shirt" and the rest was in the same vein…The style was in fact superb; but it resembled so little our literary principles that we felt for this excellent, depraved poet, a fearful admiration and that Baudelaire would not return.»

In many cases such a seemingly insignificant deletion is enough to change the general meaning of a phenomenon. Concerning the most elementary links, Plotinus wrote [783]: «But what does the soul of the earth give to its own body? -A piece of earth, pulled from the ground, is not the same as when it was part of it; we can see that the rocks grow as long as they are fixed to the ground and cease to grow as soon as they are pulled apart.»

Gautier shows us that the painting of manners, for its part, also involves imagining a situation different from or complementary to that observed [402]: «But it is the fashion now to be virtuous and Christian, it is a demeanour we give ourselves; we pass ourselves off as Saint Jerome, as before we imagined ourselves as Don Juan; we are pale and mortified; we have long hair, we walk with our hands together and our eyes on the ground; we take on an air of being steeped in perfection; a bible is open on our mantelpieces, a crucifix and blessed palm over our beds; we no longer swear, we smoke little and we hardly chew tobacco at all. -So we are Christian, we talk of the holiness of art, of the lofty mission of the artist, of the poetry of Catholicism, of M. de Lamennais, of the painters of the Angelic school, the Council of Trent, of progressive humanity and a thousand other beautiful things.- Some inject a touch of republicanism into their religion; these are not the least curious. They couple together Robespierre and Jesus Christ in the most jovial fashion and combine with a most praiseworthy gravity the Acts of the Apostles and the decrees of the "holy" Convention, this being their sacramental epithet: others add, as the final ingredient, some Saint-Simonian ideas.»

Often the measurable characteristics in an idea were put in place by means of the imagination, so that we can see the authors, in the same way that Germaine de Staël envisaged physical forces [936]: «When Nature crystallizes in its most regular forms, it does not follow that it knows mathematics, or at least it does not know that it knows them, and it is lacking in consciousness of self.» What is more, the best individual purposes of the text follow the same lines as the overall tendencies, while the creator, absorbed in the impulses of his own soul, at times hardly sees them. Even in works requiring demonstration, the process does not appear inexistent, as shown in these words of Kepler [108]-[109]-[110]-[937]: «…I stole the vases of Egypt to build a temple to my God.»

The shortcuts between a poet’s images are unknown to us and so we have to use outlines and patterns to replace them, with the inevitable accompanying weaknesses. When examining La Rochefoucauld’s system, Sainte-Beuve remarked [485]-[890]: «Why translate in all cases as an arid calculation and present only after scrutiny and analysis that which is often the living fruit, as yet un-plucked, of human organization, infinitely varied and bearing its branches up to the very heavens?»

We are surprised by the doubling of the “L” sound in French at the transition point between lines 2 and 3: «roles-L'homme». It is conceivable but unlikely that this is designed to suggest the movement of humanity or of the poet in the midst of reality, in particular accompanied as it is by the "R", and so it would be very difficult to decide rapidly, to know whether the following link uses its eyelet or not, for (L'homme/-paroles) (Man-words) [743]- [744]-[745]. On the contrary, in “there passed through their clothes many sweet perfumes, hm”, the absence of eyelet for (perfumes/-hm) can clearly be seen since “hm” imitates the sound produced when we breathe in attentively in search of a fragrance.

«Nature is a temple» could have the meaning “Nature is God”, but such an aspect of (Nature/-temple) could not be very plausible since common thinking at that time would not have been prepared to see this. With a rail beginning “Nature resonates with an edifice…” a possible allusion to God is still very obscure because a readership insensitive to the actual meaning, (resonates/-Nature), would also miss the ventilation. The two prongs of a tuning fork are barely perceptible but when placed on the base designed to give the same note, this resonance chamber produces a clear sound [388]. Our poet, curious about science, was not unaware that for certain minds the knowledge of physical laws facilitated an approach to correspondences. Euler explains [388]: «…as soon as an opaque body is lit up, all the smallest particles of its surface are agitated in a certain way that produces rays…» It is that [389]: «The shining bodies should be compared to musical instruments, put into action or actually sounding. It is of no import here whether they sound by some intrinsic force, or they are touched by outside forces: for my purpose it suffices that they sound and make a noise. Now opaque bodies, when not lit up, should be compared to musical instruments not in use, or to taut strings in repose, which emit no sound. Our question has now moved from light to sound and can be summarized as: Does a taut string at rest, when surrounded by the noise of musical instruments, vibrate or start to make a sound, without actually being touched? In fact experience teaches us that such is the case.» Therefore [390]: «…in relation to sight, colours are the same as different sounds, high or low, as regards hearing.» The mathematician continues [391]: «…the same sound that the string would produce if touched is the most effective in making the string vibrate…When wine spirits are set alight in a room…the blue rays are not capable of exciting or undermining the red colour in a face, only a bluish and very feeble colour is seen; but if someone is wearing a blue costume, this in turn will appear absolutely brilliant.»

Love, even going as far as the facet of sexual interlocking, remains the model of all correspondence. The resemblance of a daughter to her mother is another type of analogy. In this the marked presence of oppositions hampers our intelligence so that we have to resort to mathematics to obtain a definition [401]. The trees in a wood have a one-to-one mapping with the hunters resting in their shade, when for each of the categories, one element in one and one in the other is found, for example with ten birches and as many men [401].

Of course, cultural objects have their particularities, but they remain in the continuity of the fundamental being, as shown in the subject of the poet’s meditation, the beauty of the body. Although it plays a natural role in reproduction, Darwin some years later saw certain choices related to this beauty as having modified our species over thousands of years. He wrote [242]: «…it would be an inexplicable circumstance, if the selection of the more attractive women by the more powerful men of each tribe, who would rear on an average a greater number of children, did not after the lapse of many generations somewhat modify the character of the tribe.»

The French expression, which includes an English noun, “nous avons le spleen” (we have spleen), to quote a word of which Baudelaire was fond, leads to this type of problem. The sentiment portrayed is that of a life felt in advance to be useless and which can only be saved by such transports of love as depicted by Balzac [72]: «I looked at my neighbour, and was more dazzled by her than ever I had been by the celebration; she became my celebration.» Or we descend to madness through having glimpsed this intricacy of things which reduces to despair our thirst for learning, as with one of the characters of the same novelist [90]: «Old Lefebvre never let me stay anywhere except in his house, where he showed me to his nephew’s room…"This young man knew everything, my dear Sir!" he said, placing on a table a volume containing the works of Spinoza. "How could such an organized mind have become so addled…»

On the other hand, when the poet’s thoughts are somewhat unclear, licence is given to the reader to exercise his own imagination. This is seen with «…the expansion of infinite things…» taken to mean “…the infinite expansion of things…” The mound (á) would be á=2 because this figure would make us imagine a permutation and would thus rest on an external aspect of language [332]. It has often been observed that once rigour has been buried in sentiment, the form becomes to a large extent the substance [[1077]] in Index II (Poems)">[[1077]]: «I have a moist lip, and I well know
How to lose in the depths of a bed, any man’s conscience.» Once distracted, our attention, as Gautier wrote, is fixed on things it would previously have ignored [410]: «The senses no longer watched over by the soul, and working on their own account, are at times particularly lucid. Condemned men, heading for their execution, notice a tiny flower between the cracks in the pavement, a number on the button of a uniform, a spelling mistake on a sign, or any other puerile circumstance which for them becomes hugely important.» Philostratus imagined a different distinction [579]: «Immortal is the soul: it is a thing not of yours but of Providence; once the body has been dried out, escaping from its bonds like a swift horse, with ease, it leaps and mingles in the light air, hating its terrible and laborious servitude; but for you, what good is all this? For, when you are no longer there, you will believe yourself so to be; so while you are among the living, why do you worry about these things?»

Similarly, as the vocabulary used in a special milieu is often employed differently from everyday language, what appears to be a felt to the average reader, may not be one in that particular context. Baudelaire surprises the critics sometimes, since he belongs to an intellectual line which is difficult to investigate. Sainte-Beuve described the distant foundations of this type of reflection [891]: «…Louis XIV has two centuries: one is noble, majestic…there is another that runs underneath, so to say, as a river flows under a broad bridge, and which goes from one Regency to the other…the Duchesses of Mazarin, of Bouillon and all their world; Saint-Évremond and the voluptuous members of his school; Ninon and those that formed her entourage, the malcontents, the mockers of all kinds.» In one of our poet’s remarks, we can make out his following of this trend [655]: «It would be sometime before I finished if I wanted to list all the beautiful and good sides of what is called vice and moral ugliness…»

There were any number of thinkers tempted to try to find a marvellous shortcut, instead of undertaking a patient analysis of the objects. This is even more true for a vague idea, like that of correspondences, around which can be built one of these illusory theories which consider fantasy can solve in one go, while underestimating the obstacles to be overcome, problems tackled in reality but with great difficulty by the application of true knowledge. Conversely, Baudelaire limits himself to sketching some parallels, notably that of the flesh with perfume, beyond the bounds of any previously constructed doctrine [667]. Diderot before him had imagined this view [279]: «The English say "a fine flavour, a fine woman", une belle odeur, une belle femme.» The flesh constitutes for the painter a particular difficulty [280]: «…it is the flesh that is difficult to convey; that white, smooth tone, even without being pale or mat; it is that mixture of red and blue which perspires imperceptibly; it is blood, life that are the despair of the colourist. The one who has acquired the feeling of flesh has made a great stride; the rest is nothing in comparison. A thousand painters have lived and died without feeling flesh; a thousand more will die without feeling it.»

The rack “There are other perfumes, like adult children…” gives us (adult/-children), which has the thinner œ=1, as the bolt “grown up too fast” does not in any way render the meaning of “children”. Nevertheless, it is not a highly plausible figure since the opposition of the terrain to the corridor justifies ß=2. The perfumes evoking feminine flesh must provide a setting for their beauty, making it more radiant. Pliny the Younger remarked [780]: «…in the same way that it is an honour for tender and soft wax to obey skilful fingers and produce the work they so ordain, at times representing Mars or the virgin Minerva, at times Venus, or the child of Venus, just as holy springs do not restrict themselves to extinguishing flames, but often also cool the flowers and the green meadows, so the human spirit must know how, in wise mobility, to bend and follow an art with no rigidity.»

When the presence of a felt is imagined in a very broad segment of the work, by using wit to bring together what the creator placed in various places, a large value for (z) is not impossible. Let us consider the rail: “The traveller distinguished, among the effects of alcohol on the images of his thoughts which varied from second to second, as in a dream full of the memories of his recent enthusiasms, experienced in a harbour so full of boats, of tackle, of blocks of marble, of huge timbers, of thick sacks in rough cloth, sails…” There is sufficient ambiguity in the relationship between “distinguished” and “sails” for the distance (z) of b(distinguished~sails) to be of the type z=2+(1(n/10)). Since Baudelaire himself placed great emphasis on travel as a source of inspiration, the passage on “…amber, musk, benzoin and incense…” must be considered in this regard, and therefore the corrupt perfumes would be triumphant, as being very spicy; they would cover the milder ones, like leaders dismissing the conquered from power.

Correspondences could merely merit the status of illusory objects of faith. The huge weight of this intellectual or sentiment force can be seen in the lasting emotion which compels the atheist to follow the religious practices of his childhood. A belief sometimes produces the equivalent effect of a narcotic, particularly when dreaming. Balzac speculates like this while telling a story [62]: «"By what means can these strange apparitions take place?" said Ursule. "What did my godfather think?" "Your godfather, my child, proceeded by hypotheses. He had recognized the possibility of the existence of a spiritual world, a world of ideas. If ideas are created by man himself, if they subsist living their own life, they must exist in forms that our external senses cannot perceive though our inner senses can experience them in certain conditions…Thus, if ideas move in the spiritual world, your mind could have perceived them by going into that world. These phenomena are no stranger than those of memory, and those of memory are as surprising and inexplicable as those of the fragrance of plants…"»

With “Man insinuates himself into the oracles” we can identify (oracles/-insinuates) with the bolt “sanctuaries” and the projection “Man insinuates himself into the sanctuaries where the oracles are delivered”. However the form “insinuates into” hinders identification of the meaning, even though there is no lack of cases when it is necessary to surmount obstacles to celebrate an act of worship. In the mountains, or pillars of the world, altars can be found, since, being close to the heavens, they are the recipients of holy honours [131]: «The voice of the Lord is upon the waters: the God of glory thundereth: the Lord is upon many waters.» Arguments between neighbours provide the opportunity for a first-hand account of the people of the Bible [122]: «And the servants of the king of Syria said unto him, Their gods are gods of the hills; therefore they were stronger than we; but let us fight against them in the plain, and surely we shall be stronger than they.» The distance of ancient cultures paralyses the interpreter with little specialist knowledge when he reads these writings, but it is still possible that Baudelaire, with his extreme sensitivity and his excellent teachers, could have had some subtle notions of the "heights" as perceived in traditional thinking.

For “physiologically, the bodies stimulate each other in a trance”, it could be thought that the bolt “people” from (bodies/-stimulate) is threatened in such a way since in the terrain “bodies” its own inner idea could suffice. The figure (symbolizes/-water) with the rack “water symbolizes with fire” seems to merit the crypt “water, as its opposite, corresponds to fire”. However, once áæßœ=1 has been assured, ý=2 fits, since the word “symbolizes” is not used with its habitual meaning and so a misunderstanding of the significance of the whole remains possible [427]-[502].

Let us take the rail “…the town is a church in which the poet, like a priest, celebrates grace…” giving the tartan (town-/church-/poet-/priest) which annexes (grace/-poet). Nevertheless, we must ask whether an indispensable commentary on the terrain “grace” would not come from “beauty”, which would thus be the bolt of (grace/-poet), justifying the turn of phrase. Its highlight appears in the projection “…the town is a church in which the poet, like a priest, celebrates grace or beauty…” However the bolt “beauty” takes back the terrain “grace”, leaving the felt with little importance, so that finally the annexation is successful. The ambiguity “grace-providence-election- charity-beauty” remains, without managing to determine a highly plausible felt. We must avoid imagining that Baudelaire saw himself as a philosopher of metaphysical or religious correspondences as he notes [712]: «I have tried more than once, like all my friends, to shut myself up in one system and preach there at my ease. But a system is a sort of damnation which drives us to perpetual renunciation; another one has always to be invented, and this fatigue is a cruel punishment.»

The imitation of something by its sound also gives many mounds of 2 and, furthermore, it is a correspondence, which could be sought even in «forest» which reminds us of the rustling of leaves. We get lost amidst the numerous images which are conjured up at the slightest sound. Jacques de Voraigne speculates as follows [968]: «Either the name Sylvester is derived from "silvas", “forests”, and "trahens", “he who attracts”, because this saint attracted to the faith men of the woods, that is to say uneducated, tough men; or, as we can find in glossaries, the name of Sylvester is associated with that which is green, rustic, shady and covered in wood. He finds the colour green in the contemplation of celestial things; he was rustic by working on himself. By avoiding exposing himself to the ardours of desire, he was a creature of the shade. Planted among the trees of heaven, he is truly of the same nature as the woods.»

The bolt “tarty chick” and thus “loose woman”, or “demi-mondaine”, would give no evidence for (poultry/-perfumes) with the rack “There are perfumes cool as the flesh of poultry…” Using coding like this to interpret the rail would deprive the felt of the contact necessary to the audience, leading to æ=2 once again since this type of figure of speech hinges on straightforward riddles. Hasty judgments of Baudelaire’s female friends should be avoided, keeping our admiration even for the ones we have most doubts about [[1135]] in Index II (Poems)">[[1135]]: «Tonight the moon is dreaming more lazily;
A beauty reposing on many cushions,
Who strokes with a light, distracted hand
The contours of her breasts before sleep;

A satin glaze on her back from the soft avalanche,
Dying, overcome, she swoons
And turns her eyes to visions of white
Mounting in the azure sky like blossom.

When at times on this earth, in her idle languor,
She lets fall a furtive tear,
A reverent poet, the enemy of sleep,

Takes in his hollowed palm this pale tear,
Iridescent like a fragment of opal,
And places it in his heart, far from the eyes of the sun.»

With “…the trunk, wounded, sheds tears…” (trunk-/wounded-/tears) would be fully justified, giving ß=2 for (tears/-trunk). Weakness does not exclude triumph [147]: «And one of the Pharisees desired him that he would eat with him. And he went into the Pharisee’s house, and sat down to meat. And, behold, a woman in the city, which was a sinner, when she knew that Jesus sat at meat in the Pharisee’s house, brought an alabaster box of ointment, And stood at his feet behind him weeping, and began to wash his feet with tears, and did wipe them with the hairs of her head, and kissed his feet, and anointed them with the ointment.»

Many problems remain, in spite of extensive documentation, since individuals can play so much with verbal resources. „Correspondences“ allows us no clear meaning for «…In a dark and profound unity…» The felt (unity/-In) could be envisaged accompanied by the bolt “thought”, which would give the projection “in a dark and profound unity of thought”. If Baudelaire considers the notions innate in Man, or their bases in God, then for him all the relationships that motivate them are echoed within the spectacle the universe offers us. Germaine de Staël wrote [933]: «The conception that strives to find a resemblance between the laws of human understanding and those of nature is a fine one which considers the physical world as the relief of the mental world… These constant metaphors used to compare our feelings with external phenomena, sadness with a cloud- covered sky, tranquillity with the silvery rays of the moon, anger with the waves stirred up by the wind, are not a futile game of the imagination; the same thoughts of the creator are translated into two different languages, and one can serve as the interpreter of the other.»

At 1/3.3, the amount of plausibility seems right because of the vague relationship of the terrain with the corridor. A possible projection using the bolt “prophet” would be: “God or society needs you, a Baudelaire, a prophet!” The greatest missions are only rarely compatible with a humdrum occupation, as seen by Germaine de Staël [918]-[930]: «Knowing of one branch of science only what is peculiar to it, is to apply to liberal studies Smith’s division of labour, which is only suitable for the mechanical arts.» The opposite is the case with a well-prepared mind which can understand correspondences [128]: «Belshazzar the king made a great feast… In the same hour came forth fingers of a man’s hand, and wrote over against the candlestick upon the plaister of the wall of the king’s palace…Daniel answered…the God in whose hand thy breath is, and whose are all thy ways, hast thou not glorified: Then was the part of the hand sent from him; and this writing was written. And this is the writing that was written, "Mene, mene, tekel, upharsin". This is the interpretation of the thing: "Mene"; God hath numbered thy kingdom, and finished it. "Tekel"; Thou art weighed in the balances, and art found wanting. "Peres"; Thy kingdom is divided, and given to the Medes and Persians.» 131

Joseph de Maistre observes the dangers of night [515]: «You well know, my good friends, that night is dangerous for man, and, without realizing it, we all like it a little because it puts us at our ease. Night is a natural accomplice constantly taking orders from all the vices, and this seductive indulgence means that in general we are all worth less by night than by day. Light intimidates vice; night restores all its power and it is virtue that is afraid. Once again, night is not good for man, and yet, or perhaps for this very reason, do we not all to some extent idolize this facile divinity? Who can boast that he has never invoked it for evil?»

Since many coding systems are unknown to us, the least tortuous interpretation must serve as a basis for the critics, nonetheless allowing for the fact that a slightly unusual usage may hide a formidable significance. Tenderness, which we take seriously with Baudelaire since he is so cruel elsewhere, must also be questioned [[998]] in Index II (Poems)">[[998]]: «…I thought I could breath the perfume of your blood.
How beautiful are the suns in the warm evening…These vows, these perfumes, these never-ending kisses,
Will they be reborn…As rejuvenated suns rise in the skies
Having been bathed in the depths of the oceans?»

Conversely, with Goethe the novelist became an amateur naturalist and so described natural chemical bodies as adolescents who sometimes love each other cruelly [254]-[418]: «These beings that seem dead but which are always ready to be active within, must be seen in action before our eyes; we must watch sympathetically how they search for each other, attract and seize each other, destroy, absorb and devour each other and then, having been intimately united, show themselves anew in a renewed, unexpected form…»

Since art is related to craft which in turn is related to science, a very wide exchange of views has occurred for a long time. The poet keen on the exact observation of German romanticism described a chemical correspondence thus [254]-[416]: «For example, that which we call limestone is a more or less pure chalky rock, intimately linked to a weak acid which we have come to know in its aerial form. If we place a piece of this stone in dilute sulphuric acid, the acid seizes the lime and appears with it as gypsum; while the weak, light acid is given off in the air. A separation has occurred, a new combination, and we feel henceforth authorized to use the expression selective affinity because it seems in fact that one relationship has been preferred to another, one chosen rather than the other.»

The exchange of thoughts between people with very different cultural backgrounds often necessitates abandoning a thoroughly rigorous approach, conjuring up an illusion regarding the correspondence of objects. Goethe put his readers on their guard against making facile rapprochements between love and chemistry [254]-[417]: «These apologues are attractive and recreational, and who does not enjoy playing with analogies? But in the end man is in many degrees above these elements and, if he has shown himself here to be generous enough with these beautiful words of selective affinities and choices, he would do well to look into himself and to take the opportunity to reflect on the value of these expressions.»

A correspondence links people or substances and our learned German poet described the natural world of chemical bodies as a society [254]-[415]: «However, that which resembles most inanimate beings are those masses which are present in the world, the stations, the professions, the nobles and the Third Estate, the soldier and the civilian. -And yet, continued Edward, in the same way that they can be linked by habits and laws, there exists also in the chemical world, intermediaries to unite those things which repel each other.»

The ideas “correspondence” and “nature” often mix several domains when they appear in works written with the artistic aim of expressing the power of the link working within things. Goethe uses similar notions to describe fellow-feelings in chemistry [254]-[418]-[915]: «Imagine a certain A closely linked to a certain B, and from which it could not be separated despite the employment of many means and much effort; imagine C behaving in the same way with D; now put both pairs in contact with each other: A will throw itself at D, and C at B, without our being able to tell who left the other first, who united with the other first.»

Time is needed to understand (forests/-stars) as regards “The forest gives life to stars, men, correspondences, animals and trees.” If the bolt is “reality”, it seems strange, leading to a projection “The forest of reality gives life to stars, men, correspondences, animals and trees.” The distance is only 1 but the meaning of the phrase is difficult to comprehend. Unity in intricacy would come through a sole hidden direction, as seen in the world imagined by the author of „Elective Affinities“ [419]: «We are told of a particular practice in the English Navy. All the ropes of the Royal Navy, from the thickest to the thinnest, are so twisted that a red thread runs through them from end to end which cannot be removed without undoing the whole; this makes it possible for even the shortest pieces to be recognized as belonging to the crown.»

Correspondences, as oppositions or sympathies, have been seen as mysterious entities with extraordinary power but a consciousness of these powers unfortunately lays open the risk of forgetting their unity. Homer thought of this [442]: «Come, all you gods, take the test and you will learn, all of you. Hang a golden cable in the sky; then hold on to it, all of you, gods and goddesses: you will not drag down from the heavens to the earth Zeus, the supreme master, however hard you may try. But if I wanted to pull hard, I could hoist up both the earth and the sea with you.»

It should be possible for thought, as a force, to be a subject of study, if it is accepted that the intuitions of authors must be respected, not in order to commune ineffably with them as that way is a blind alley, but to be able to reconstruct them better through ideas. As a concept can be reached starting from outlines foreign to it, conversely we are capable of understanding what we are far from approving, above all when this forms a past layer of ourselves. In particular it is easy to accept the need for words, images, sculptures to evoke a direction which is fixed but is hidden from the world, bringing us back to everyday experiences. Apuleius succeeded in describing the atmosphere of the ceremonies in question [17]: «When we reached the very threshold of the temple, the high priest, with those who were carrying the holy images before him, and the initiates already admitted into the venerable sanctuary, entered the chamber of the goddess and laid out in the established order the living effigies.»

A poet only becomes a specialist in a certain idea if his belonging to a limited movement isolates him from the ordinary population, which also means his audience can be considered differently from that of other artists. Less closely fought struggles take place in the State, giving the exhilaration of triumph to the occasion, so that the correspondence of thinkers sometimes has a vigorous tone, though understood by all. Du Bellay wrote in the midst of the religious conflict [285]: «I know, wicked ones, I know (as I recognize in myself
That which I must also recognize in you),
I know that you will not have (following your old ruses)
For want of fine speeches, and well-turned excuses,
To abuse those, who would move their righteous wrath
To take vengeance on you…» The turmoil of battle can be seen in the giddy world of the tavern, in the midst of the peaceful, civilized world, as Diderot showed [276]: «If the weather is too cold or too wet, I take refuge in the Café de la Régence; there I take pleasure in watching the games of chess…it is at Rey’s that Legal the profound, Philidor the subtle, Mayot the sturdy mount the attack; here the most surprising moves are seen and the worst language is heard…»

As the passage under consideration here «Nature is a temple» provides one of the models for the tartan, it is conceivable that the perspective of another figure of speech would not be able to describe the situation so well. The spirit of analogy reigns in this parallel of the temple with the natural world. Herodotus noted a similar idea, as well as the related practices [433]«The Persians have, I know, the following customs: they do not erect statues or temples or altars to the gods, and consider as insane those who do so; it is, I think, because they have never attributed a human form to their gods, as the Greeks do. They are accustomed to offering sacrifices to Zeus at the summit of the highest mountains -they give the name of Zeus to the whole expanse of the canopy of heaven.»

On the one hand its presence in the first line of „Correspondences“ highlights it in a special way, on the other a reminder of the traditional debate on the gods makes it particularly interesting. Herodotus thought that in Greece, at the time of its autochthonous inhabitants, ideas were current resembling the one in question here [434]: «Formerly the Pelasges made sacrifices to the gods and prayed to them, as I learnt in Dodona, but they did not give any of them a particular name or agnomem; because they had never heard them named. The general term of "theoi" or gods came from the idea that they had "the"d, placed, all the contents of the universe in order and kept them so.»

In the XIXth century “truth” acquired an increasing autonomy from “revelation”. The author suspected that theological poetry would quickly be less well understood and so he should renew its fundaments. At that time Emerson was writing about England, in a similar situation [380]: «No hope, no sublime augury, cheers the student…A horizon of brass of the diameter of his umbrella shuts down around his senses…The artists say, "Nature puts them out"; the scholars have become un-ideal. They parry earnest speech with banter and levity; they laugh you down, or they change the subject. "The fact is", say they over their wine, "all that about liberty, and so forth, is gone by; it won’t do any longer."»

In the case in which “vanity” is substituted for “revelation” in the rack, giving “…the man who loves Nature will deliver vanity in his words…” with the secret content “…the man who loves Nature will deliver beauty in his words…” we obtain æ=2, because the idea is impossible to understand from an ordinary reading. The beginning of the poem, «Nature is a temple», in a very different way, and as regards the purely literal aspect, conveys itself without any serious hindrances, and we have seen that a regulator æ=1 is applicable in the case of (temple/-Nature). The cultural milieu in which the poem is received has a strong influence here, and not long before Balzac declared [92]: «"The Word" of God was entirely written by pure Correspondences…» For Hugo [460]«Every object from which the wood is composed responds
To some similar object in the forest of the soul.» According to Maistre [155]-[487]-[518]«Everything that we can know about rational philosophy is found in one passage from Saint Paul, and here is that passage: "this world is a system of invisible things manifested visibly"».

As for the rest, we do not know what man derives from his comparison with natural signs, but as Baudelaire used the term «words» at the beginning of „Correspondences“, we should ask ourselves whether God did not make an appeal which remains without any satisfactory human interpretation [114]: «And ere the lamp of God went out in the temple of the Lord, where the ark of God was, and Samuel was laid down to sleep; That the Lord called Samuel: and he answered, Here am I. And he ran to Eli, and said, Here am I; for thou calledst me. And he said, I called not; lie down again.»

In a very different way, the expression (revelation/-deliver) seems to be constructed to deal with the ancient theme of love of natural things uniting us with God, without requiring of “revelation” any meaning other than its usual one. On the other hand we will have œ=1 with “…the man experimenting with Nature will prove the revelation scientifically in his words…” Sextus, seeking a rational reason for the mystery and motivated as he was by the debate on the gods, observed as a sceptic [917]: «Prodicus for his part said that God is that which befits life, such as the sun, the moon, rivers, lakes, meadows, fruit…And Critias, one of the tyrants of Athens, appears to belong to the company of atheists when he says that the ancient legislators invented God as a sort of overseer of men’s good and bad deeds…»

In the original «Laissent parfois sortir» (Let forth at times) repeating the sound “S”, which can imitate the rustling of leaves or whispering, should not be considered as a sign of a defective eyelet since there is not enough energy for such an effect. The expression is hesitant in the detail as the intervention of Zeus within the trees leads us to think that «Let forth» is more than “pronounce”, while letting a meaning be released only with its perfume would be less than speaking for an incense-producing tree. This strange conception of pillars would have hardly surprised Auguste Comte [208]: «Since all observable bodies are thus immediately personified, and endowed with ordinarily powerful passions, according to the energy of their phenomena, the exterior world shows itself spontaneously to the spectator, in perfect harmony, which it has never thereafter been possible to reencounter to the same extent, and which must produce in him a special feeling of complete satisfaction which we can hardly qualify suitably today since we are not able to experience it sufficiently, even by referring back, through the most intense and well-directed meditation, to the cradle of humanity. It can easily be understood how much this exact, intimate correspondence between the world and man must lead us to be deeply attached to fetishism, which conversely also tends, unavoidably, to prolong particularly such a moral state.»

The theme of objects to which an incomprehensible force is attributed interested Lamartine [491]: «Inanimate objects, have you thus a soul
Which attaches itself to ours and forces it to love?» The progressive sociologist, from whom Baudelaire was apparently very far removed, wanted to understand the history of these images [209]: «Up to now, and precisely during the times which must have had most influence on the formation or rather the development of human language, the excessive overabundance of figures of speech must have been due…to the philosophical regime then dominant, which, above all in the state of fetishism, assimilating directly all possible phenomena to human deeds, must have introduced as essentially faithful, expressions which can no longer appear to us as other than metaphorical, since we have progressed entirely beyond the mental state which motivated their literal meaning.»

Above all on imagining trees delivering an oracle, in the sound of their leaves, it seems satisfactory to identify «Let forth at times» with “speak”. Hugo, addressing Dürer with a challenge to history, also imagined natural words [221]-[459]: «In the woods, like you, I have never wandered…Without seeing…Confused thoughts hanging from all the branches.» Plato had a different idea [759]-[760]: «…we are plants but celestial not terrestrial ones. And in fact it is on the top, the place where the soul was originally born, that God hung our heads, which are like our roots, and in this way he gave the whole body its upright stance.»

The graft (pillars-/let-/confused words) allows a parvis (freewill-.-let-.- pillars-.-confused words) and the developed meaning “as beings of freewill may allow something to be done, the pillars decide to provide words”. For its part the felt (Let forth at times/-confused words) can be described by (Let forth at times-.-sounds-.-pronounce-.-confused words). The one is the adjunct of the other, with in both cases the centre of interest being the theological notion of the word, so solemnized by John [149]: «In the beginning was the Word, and the Word was with God, and the Word was God. The same was in the beginning with God. All things were made by him; and without him was not any thing made that was made. In him was life; and the life was the light of men. And the light shineth in the darkness; and the darkness comprehended it not.»

The theme of correspondence being constant throughout the essay, it cannot distract our attention, which may therefore be committed to the important part of the calculation. By linking all the various beings with its obscure words, universal sympathy has interested many thinkers. A doctor consulted by Baudelaire had written [611]: «Venereal disease, with homœ opathic treatment, in the beginning, and in straightforward way, can be cured promptly and with incredible ease.» Balzac makes us giddy with the parallels he draws [60]: «Towards the end of the eighteenth century, Science was as deeply divided by the appearance of Mesmer as Art by that of Gluck. Having found magnetism, Mesmer came to France…"If homeopathy reaches Paris, it will be saved, said Hahnemann recently. -Go to France, said M. de Metternich to Gall, and if they make fun of your humps, you will be famous."»

Since “let” gives a feeling of liberty, which in turn would require intelligence and only this would allow words, could not the bolt “pronounce” have a hidden double within the rack? In this case the path ó* would have to be reconsidered. Nevertheless, this judgement rests on such a long chain of doubtful suppositions, that it becomes futile. It remains that words invade the natural world, as shown in these lines of Horace [457]: «You also will take your place among the celebrated fountains, since I tell of the holm oak set in the caves in the rock from which your babbling waters gush forth.» Conversely, the natural world conquers new domains [[983]] in Index II (Poems)">[[983]]: «These wild robes are the emblem
Of your gaudy spirit…»

In the rack «…living pillars
Let forth at times confused words…» we are surprised to discover the notation «at times». However this does not constitute a sufficient reason to allow the path ú*=2 because the stylistic usage remains common and only one question is raised by the very distant metaphysical background. The reference to time, amidst celestial things, reminds us of these lines of Plato [758]: «Now, it is the substance of the Living-Model that was found to be eternal, as we have seen, and it was impossible to adapt this eternity entirely to a created world. That is why its creator wanted to make a certain mobile imitation of eternity and, whilst organizing the heavens, he made of the one and immobile eternity, this eternal image which progresses following the law of numbers, this thing that we call time…But that which is ever unchanging and unchanged never grows older or younger with time, and never did or has become, or hereafter will be.»

Non-orthodox theology, or improper preaching, leads us to situate the author not far from Richter [929]: «One summer evening I was lying at the top of a hill and fell asleep, and I dreamt that I had woken up in the middle of the night in a churchyard. The clock struck eleven. All the graves were open…At that moment descended from on high to the altar a radiant figure, noble, lofty, and who bore the mark of eternal suffering; the dead cried out: -Oh Christ! Does God exist? He replied: -There is no God.»

Morally there is also a risk of gesticulation [[1066]] in Index II (Poems)">[[1066]]: «My mistress is no celebrated lioness;
The Beggar in my soul borrows all her lustre.
Invisible to the eyes of the mocking universe,
Her beauty only flowers in my sad heart-

She has sold her soul for some shoes;
But the good Lord would laugh if, so close to this vileness
I acted the Tartuffe, and aped haughtiness,
I who sell my thoughts and who would be an author.»

Luckily this repetitive and tentative progress is lightened by Eros and a sense of observation which are constantly active in "the Flowers of evil". Plato, in certain respects, could serve as a model since he celebrated also the beautiful and the true [730]: «For that in fact is the right way to accede to the things of love, or to be lead there by another, starting from the beauties of this world and, with this beauty as a goal, to raise oneself continually, using, I would say, rungs, passing from a single beautiful body to two, and from two to all, then from beautiful bodies to beautiful occupations, then from occupations to fine sciences, until, from the sciences, we reach this science that I spoke of, the science that has no other object than, in itself, the beauty of which I am speaking, and until at the end we know what is beauty for beauty’s sake alone.»

The terrain “usage” and the corridor “guides” here only have a difference with an easily intelligible clear attribution. On the other hand, in «…Vast as the night and as the light…» we find (night/-light) which merits the podium ß=2 through incompatibility. Among the great traditions regarding this contrast, one stands out by making the dark side of life heroic. Marlow has Faust and Mephistopheles talk thus together [522]: «"How comes it then that thou art out of hell?" "Why, this is hell, nor am I out of it."» Baudelaire can mention this nocturnal theme in the poem in order to show he appreciates exploration which defies anxiety [[1094]] in Index II (Poems)">[[1094]]: «…Goya, a nightmare full of things unknown,
Of foetuses cooked for witches’ sabbaths,
Of old women at mirrors and completely naked children
Adjusting their stockings to tempt Demons…»

The powers that direct us in all our actions, and in love in particular, are not properly understood [[1136]] in Index II (Poems)">[[1136]]: «Your eyes illuminated like boutiques…Insolently use a borrowed power,
Never having known their beauty’s law.» The Song of Songs celebrates this [138]: «How fair is thy love, my sister, my spouse! how much better is thy love than wine! and the smell of thine ointments than all spices!»

Baudelaire’s soul, aware of the importance of spiritual guidance, in turn becomes the initiator of others, who may be more uneasy [[1079]] in Index II (Poems)">[[1079]]: «Carry me away, wagon! Frigate, take me!
Far, far away! Here the mud is made of our tears!
-Is it true that sometimes Agatha’s sad heart
Declares: far from remorse, from crime and pain,
Carry me away, wagon, frigate take me?» In the cities, bodies worn out by prostitution are found and Smith’s famous remark remains true [920]: «Many workmen could not subsist a week, few could subsist a month, and scarce any a year without employment.»

“The artisan becomes master in the usage which guides him through the crossing of time where the ideas transmitted transit…” will approach the bolt “tradition”, concerning (usage/-guides) because of the means in the vicinity suggesting the idea, which will also lead to ó*=2. Humanity is also loaded with mores in the symbolic forest [[1101]] in Index II (Poems)">[[1101]]: «I am an author’s pipe;
You see, contemplating my look
Of an Abyssinian or a Kaffir,
My master is a great smoker.

When he is full of pain,
I smoke like a small cottage
Where the meal is being prepared
For the return of the labourer.

I enfold and cradle his soul
Within the moving blue net
Which rises from my fiery mouth,

And I roll a powerful balm
Which charms his heart and heals
His spirit of its weariness.»

Unlike techniques, sudden transformations in the natural world do not provide reassuring guidance, and many authors, very differently from our poet, try to find correspondences in some mirror of their soul [667]. In pursuit of their clumsily conceived interest, they much resemble the finalists Spinoza described [925]: «But in their endeavour to show that Nature does nothing in vain (i.e. that is not of use to man), they seem only to have shown that Nature and the Gods are as mad as men.»

The most eminent guide to the arts, God, as he seems to Baudelaire, was imagined with passions not unlike our own, but in the final analysis the error, that of a child, seems less enormous than at first, and the philosopher from Amsterdam wrote [928]: «The power that allows singular things, and thus man himself, to conserve their being, is the power of God itself, that is the power of Nature…» Baudelaire can be considered to have been using a sensible image with the famous words «Nature is a temple».

He thus made the parallel drawn by Hippocrates more exacting [438]: «Architects build a harmonious whole from different materials, dampening dry material, drying wet materials, cutting out units and putting pieces together. Without this, the construction would not be what it should be. They are imitating man’s diet: drying wet food and dampening dry food, men divide up whole units and put pieces together. All that, although different, concords.»

As far as the word “repetition” is concerned, the doubling of the “E” would have no effect on the mound of (repetition/symbols), in “…there man passes through the repetition of symbols…” An author generally chooses a word for its meaning and does not entirely control the concrete legacy of the vocabulary, inherited from past ages. The main grounds for á=2 come from deliberate acrobatics in the use of sound, graphics, time and space and not from past usage. Nevertheless, the past determines us to a large extent and the poet often needs a distant echo of this kind to make his concepts or feelings more profound. According to Tabarant, easy friendships are not sufficient for this young gentlemen of private means [947]-[948]-[949]: «But these recreations, these little wanderings, do not fill Baudelaire’s days, he who more often than not goes alone. Where to? To reading rooms, museums. To the Louvre, the Luxembourg, Versailles. In the Louvre everything captures his attention, but he stays longer in the English museum recently opened there, collections of paintings, drawings, engravings, bequeathed by Lord Standish to Louis Philippe and which are being housed temporarily in four small rooms over the Navy Museum. Nearly six hundred paintings, including one hundred and fifty from the Spanish School. Not always of proven authenticity, some works by Murillo, Velasquez, Zubaran; catalogued as such, but considered as merely attributed to them. But how fascinating they all are and such a novelty in Paris!»

The use of the epithet “inexistent” and the verb “to merge” appears largely autonomous as regards the subjects in question. “Like inexistent reflections which merge in the distance…” would remain organized in the same way. Ovid’s research, however, was related to the contents [560]: «In those times, Echo had a body and was not simply a voice. Yet her busy mouth served then only, as to this day, to send back the last words of all that was said to her. Such was the will of Juno because, when the goddess might have surprised the nymphs who often, in the mountains, abandoned themselves to her Jupiter’s caresses, Echo knowingly held her in long conversations, to give the nymphs time to run away. The daughter of Saturn noticed this and said: "This tongue which has deceived me will barely serve you any further and you will henceforth use your voice but briefly."»

The echo envisaged by the creator could give something bad, starting from something good, through multiple successive weaknesses, among them being this thirst for meaning demanded by poetry [[994]] in Index II (Poems)">[[994]]: «He is Ennui! An involuntary tear in his eye,
He dreams of scaffolds while smoking his hookah.
Reader, you know this delicate monster,
Hypocritical reader, my fellow creature, my brother!» The hope is to fill this harrowing space with heroic deeds, but a pirate appearing before Alexander the Great considered them barely superior to the most lowly chores [199]-[50]: «The king having asked him, "What are you thinking of to keep hostile possession of the seas?" he replied audaciously, "The same thing that you are thinking of when you keep hostile possession of the whole earth! But I, because I use one small ship, am called a robber; and you, because you have a great fleet, are called Emperor!"» Tocqueville noted concerning Algeria [957]: «I believe that the rights of war authorize us to lay waste the country and we must do so either by destroying the crops at harvest time, or at all times by making rapid incursions known as raids in order to capture men or flocks.»

The mountain-dweller starts at the echo of a sound even though he can identify it, so that the felt (astonishing/-echoes) from “Like astonishing echoes which mingle in the distance…” would have a large doubt to overcome. The thinner œ=2 would halt it on the way to a high value grill since it would be difficult to point out a deformation of ordinary language. Also, the quest seems difficult with the rack “Like the astonishing reminder of injustices, throughout the centuries, which mingle in the distance…” If Baudelaire imagined such a mental space by way of a forest, he could think of the echoes between the pieces of the great traditional works. It is surprising that a resonance that has become symbolic should make us almost forget its model [130]-[150]: «They part my garments among them, and cast lots upon my vesture.»

Here the rack “Like inexistent echoes which merge in the distance…” places in such close grammatical contact “echoes” and “inexistent” that it prevents the unclear meaning from breaking the link. The imagination causes ideas to intermingle according to the many varied ones in their vicinity, and as long as not so prevented by immediate experiences, it gives us sufficient confidence to fix intuitively the main direction of illustrious works, from among the hundreds of heterogeneous details. A lack of tried and tested bases nevertheless paralyses us when we are elaborating a doctrine on the correspondences of significance, giving guidance for writing. In this regard we resemble the contemporaries of Hippocrates who were seeking a desirable regime for their own constitution [437]: «Men do not know how to observe the invisible starting from the visible; they do not even know that the techniques that they use are similar to human nature. The spirit of the gods has taught them to imitate their own functions, but they know what they are doing without realizing what they are imitating. For all things are alike, though different; compatible, though incompatible; they converse without doing so, they have intelligence without having any. The way of each is contrary, though in harmony: custom and nature, by which we do everything, do not agree, while being in agreement.» Texts and natural beings have motivations that are so well hidden that we hesitate about them and Germaine de Staël judged severely too great a certainty in this respect [935]: «A French writer claimed that thought was no more "than a physical product of the brain". Another scholar said that, when we were more advanced in chemistry, we would come to know "how life is made"; the one insulted nature just as the other insulted the soul.»

Starting from the echo, it is possible to go on to the idea of reflection and then to the mirror, and from there as far as that of love, claiming finally that in the rack «Like long echoes which mingle in the distance…» the felt (mingle/-echoes) has the bolt “love”. Inversely (echoes/-mingle) would have to take on the bolt “bodies”. Without going as far as claiming such a certainty, it is still interesting to play around with the contents of these ideas as often the other person, the one desired, is so like an echo of oneself. According to Plato’s ironic fable, we come from more ancient men whom Zeus had punished, and whose halves, after this chastisement, seek union [728]: «It is thus surely since that distant time that in the heart of man was planted love…» Pleasure has torture as its basis [727]: «In these conditions, division had doubled the natural being.»

The bad result ú*=2 should not be attributed to “inexistent”, since the source must be found elsewhere than in the essential motivation that gives the felt its internal riddle. The bolt “faint” can tolerate further explanations, and in this respect, we can point out that a huge sound can produce an illusion in the hearing as if its abundant riches were overflowing into the normal capacity of the ear. In a similar way, it happens that we think we have seen some colours objectively, through a distorted slant, since the optic organs encourage them to overlap onto the neighbouring ones. In the Salon of 1842, a detail, according to Tarabant, had its own particular importance [507]-[947]: «Useful advice posted in the vestibule, where it does not attract sufficient attention: "Three times a week, in the Gobelins amphitheatre, the chemist Chevreul who since 1824 has been in charge of dyeing and teaches at the carpet Factory, gives a lecture on colour contrasts that all artists could fruitfully follow."»

The rack “Like inexistent echoes which merge in the distance…” leaves no room for doubt on the possibility of a felt and so it is reassuring to find that the numerical result does not deviate from our immediate impression. On the other hand “merge” hampers attentive perception with the result that in the end ¼ represents an acceptable plausibility. The echo mentioned by Baudelaire in the fifth line could also concern the ways in which the audience receives a work. The impact of certain poems worried the poet, who was well aware of the risks of legal action. So that the severity of the times would not stifle him, he tried to justify himself already in the epigraph. The words are borrowed from the lines Agrippa d'Aubigné wrote in even more dangerous times [3]-[42]-[661]: «It is said that foul things must be poured
Into the well of oblivion and enclosed in the sepulchre,
And that by writings resuscitated evil
Will infect the mores of posterity.
But the mother of vice is not science
And virtue is not the daughter of ignorance.»

The reference to the «mind» leads us to envisage first of all the bolt “intoxication”, afterwards widening the search to «corrupt» and «senses», until, to explain the turn of phrase, “abuse” seems preferable, covering in addition ecstasy, exaltation, orgy. Baudelaire barely condemns prostitution [[990]] in Index II (Poems)">[[990]]: «She walks as a goddess and rests as a sultaness…She believes, she knows, this barren virgin
Yet necessary for the world to go on,
That the beauty of the body is a sublime gift
Which drags forgiveness from all infamy.»

The title of Baudelaire’s anthology, “the flowers of evil”, contains one, the key usually employed belonging to exclusively feminine loves, masculine objects of fascination and symbols of rebellion [[1036]] in Index II (Poems)">[[1036]]: «In the pale glow of languid lamps,
Lying on deep cushions soaked in heady scent,
Hippolyta dreamed of potent caresses
That lifted the veil of her youthful innocence…Stretched calmly at her feet, full of joy,
Delphine fixed ardent eyes fondly on her,
Like a strong animal watching over her prey,
First having marked it with her teeth.»

Of course, the notion of “abuse” seems quite wide but it is not entirely necessary. The moral conflict which could not develop regarding „Correspondences“, will find greater strength in the case of less veiled texts in the same anthology. Baudelaire said about his trial [651]: «What is this prim and prudish, teasing moral code which leads to nothing less than the creation of conspirators even in the so tranquil order of the dreamers? Would this morality go so far as to say: "From now on we will only make consoling books, serving to show that man was born good, and that all men are happy"? What abominable hypocrisy!»

As for our author, he was concerned primarily with the harmony between significance and aesthetics. Instead of counting, he used intuitively the knowledge of the highly cultured man he was. A remark was made to him in 1837 by a teacher [597]-[632]: «Study Latin verse; otherwise it is a future string you are breaking.» However meticulous care was also given to prose. In Stendhal’s novel about 1830, the Bishop says to Julien [942]: «Although the gift is not very canonic, I should like to give you a Tacitus.» In similar circumstances but in real life this time and above all as a product of his age, Baudelaire was able to read many a description by this author of the excesses permitted in the social movement engendered by brief military victory [951]: «Would there be a young girl or a young man of remarkable beauty, being torn apart by those fighting violently for them, they would end up by exciting a fight to the death between the abductors themselves. Whilst some are stealing money or the heavy gold offertories in the temples, a stronger group arrives and massacres them.» Or even [952]: «They did not take charge of guard duty, they did not reinforce the weak points in the walls; night and day they gave themselves up to pleasure, they filled the most beautiful parts of the shore with their noisy festivities and, while the soldiers were scattered in the service of their debaucheries, they themselves talked of war only in the midst of their feasts.»

Perrault was more interested in the contents of the sensation [571]: «He sniffed to the right and to the left, saying he could smell human flesh. "It must be this Veal I have just prepared that you can smell", said his wife. "I tell you again I can smell flesh", replied the Ogre, giving his wife a funny look, "And there is something going on here which I don’t understand." With these words, he rose from the Table and went straight to the bed. "Ah", he said, "this is how you are trying to deceive me, cursed woman…" He pulled them one by one from under the bed. Those poor children went down on their knees…»

The perfumes «…Like amber, musk, benzoin and incense…» are not only suitable for war lords. The opulent lifestyle, in which triumph appears independent from the battlefield, has great need of them [[1093]] in Index II (Poems)">[[1093]]: «…Watteau, this carnival, where many illustrious hearts,
Like flamboyant butterflies, fluttering about,
Cool and light decors under the chandeliers
That pour down madness on this swirling dance…» The relationships in the vocabulary also serve to reunite as ideas, the material a jeweller is working on, the amber resin, with the perfume, animal matter from cetacea. Baudelaire, who evokes this latter in „Correspondences“, also celebrates the other substance [[1010]] in Index II (Poems)">[[1010]]: «And the lamp resigned itself to die,
The fire in the hearth alone lighting the room,
Each time it uttered a blazing sigh
It drowned in blood her amber-coloured skin!»

The two cases, the first one with “corrupt” and the second one with “te” (you) are thus very different. Indeed, when we think of “corrupt”, we inevitably think of the significance “abuse”. Once again, as regards (Let forth at times/-confused words), we must avoid suggesting that «words» or «living» provide the bolt “pronounce” since an open door sometimes lets a noise through that it has not itself emitted and in the same way many living beings are not capable of using the high point of existence that is language. The two other principles of access to the divine would appear to be art and the splendour of the body, in spite of the danger they entail. Let us listen to Pliny [775]: «….at Lanuvium…Atlanta and Helen were painted nude side by side by a unique artist: both are perfectly beautiful, but the former is depicted as a virgin; in spite of the temple being ruined, neither have been damaged at all. The Emperor Caligula, burning with desire for them, tried to remove them and would have done so had the nature of the plaster permitted it. At Caere even older paintings have been preserved and anyone submitting them to a thorough examination would admit that none of the arts reached full perfection as quickly, for it is clear that painting did not exist at the time of the Iliad.»

Drunkenness, laughter and orgies procure transports which can considerably modify our conduct and so can be a motor or driving force. Nevertheless there are disturbances which are mainly of the interior, as Balzac shows [85]: «Admiring those flowers which seem made for us, I wondered for whom we are made; which beings look at us…When the weather is fine, the flowers smell sweet and I am over there on my bench, under the honeysuckle and jasmine, waves rise up in me which break against my immobility…When in church, the organ plays and the clergy reply, when there are two distinct melodies speaking to each other, the human voices and the music, well, I am happy, this harmony resounds in my breast, I pray with a pleasure which lightens my heart…»

The most classic bases are used, starting from [211]-[343]«Go, I do not hate you.» Next, a doubt is cast, using some complication, as in “Go, I do not hate you, in feeling.” The last lines of the sonnet themselves produce a disturbance since suddenly rough images appear. The author succeeds in developing the meaning elsewhere [[1123]] in Index II (Poems)">[[1123]]: «Hatred is the cask of the pale Danaids;
Distraught Vengeance with its strong, red arms
In vain hurls into the empty darkness
Buckets full of blood and the tears of the dead,

The Devil makes secret holes in these chasms,
From where thousands of years of toil and sweat would fly,
Though Hate would lay out her victims,
And revitalize their bodies to bleed them again.» Part VI: DELIBERATE INTRUSIONS