Coherence

It is often the case that if two ideas are expressed some distance apart, our memory is not sufficiently long-lasting to allow us to make a link between them. Our aim here is to follow a heap in such a gradual way that space and time no longer constitute a significant hindrance to any contact between images. To this end, we will use an approach that transcends the divisions between glosses and reps, and so avoid complicating the calculation. We will therefore extend to the heaps some notions hitherto used for texts contained by them: “critics”, “audience”, “origin”, “creator” and “illustration”. We can also define the pawn as an idea imagined at the origin by the creator to produce a heap. Since an evaluation of the minimal coherence of the pawns would be likely to give an impression of narrowness, we will juxtapose with this view a couple of daring but equally complete illustrations.

Any vague sign of a rep, far from really stating an idea, just skirts round it and as such is a sort of evocation, recognized as the act of burdening. We can set “express” with a symbol giving the notion clearly, against “burden”, which occurs in the rep, and so, vaguely. Whatever N burdens, it remains, even for someone who reflects attentively, much more difficult to identify than the significance of «Nature», even though the object is a peak, seeing that this world has straight away been called «a temple».

A gleam exists whenever for the creator the burdened meaning of a rep might resemble a certain equivalent of one or several terms, produced instantaneously but very vaguely.

When the creator clearly envisages that one pawn introduces another, the first hitches itself to the second. This can be done equally well through negation or affirmation, also by interrogation, even, and by evocation. In “the earth does not remain fixed”, the notion “earth” hitches onto “fixed”. In the same way, a series of complete illusions can have some very good hitches.

If the creator determines a meaning held by two others, none of which are found in a rep, an infiltration occurs. In «colours» and «sounds», Baudelaire comprehends the notion “sensitive phenomenon” and this can easily be generalized for more pawns. With “he has told lies ies”, on the other hand, the notion of infiltration must be rejected, as a gleam must be sought from “ies”, because of the rep.

Gleams, hitches, infiltrations and connectors provide continuity in meaning between two groups of pawns (EFG, JKLM), with sometimes just one couple (E, F). According to the internal circumstances of a passage in the heap, the aspect which best maintains the relationship between the notions must be stressed. Let us examine the heap “many noises, particularly cries, disturbed her”. There is a hitch between “noises” and “cries”, but also “sounds” infiltrates “noises” and “cries”. The most marked aspect is selected whenever there is some doubt over two possibilities with similar legitimacy.

The brew, with the symbol (- - -), has two parts. Between notions E and F, to obtain (E- - -F), the creator must have thought of some infiltration, hitch, gleam or connector. He must also have avoided making it deliberately difficult for the audience to comprehend this relationship. The same applies for the groups of pawns, as in (EFGH- - -IJK). A twill (E- - -F) or (EFGH- - -IJK) is formed when a brew is envisaged uniting only burdened or expressed pawns. When an element from the heap is used twice, such as in (expansion- - -expansi-on), to unite two internal meanings, the most explicit aspect is mentioned first. With less closely related basic images, such as (living- - -pillars), the twills are written in the order the images are mentioned in the heap, though it is possible to omit a pawn separating those used. In any case, (F- - -E) is not correct according to alphabetical order. We read the brew (E- - -F) as “E dotted line F” and propose a similar usage for (EFH- - -RS) and so on.

A nut is a description, both sustained and simple, of a heap, realized by twills without introducing or hiding any inconsistencies. A nut twill is an eraser, and in such cases it is designated by the symbol ({}), read as “grater”. It is used in an abstract way in formulae such as (E{}F) and (EFGH{}IJK).

The quota of a nut is the proportion of erasers to pawns. It appears appropriate to set it at (n-1) erasers for (n) pawns, so all the various tests can be judged fairly.

The parts E and F of an eraser (E{}F), or the zones EFGH and IJK of (EFGH{}IJK) are called knots, and the brew of the eraser concerns the relationship between them. The individual pawns of an eraser are called cells, provided they represent the meaning of a front or a rep. When the nut is of high quality, it cannot contain a brew forming an illustration as it would then lack moderation. Also, in a high quality nut, a gap, or the omission of a cell, must not occur, due to the fact that it would, among the elements of the nut, prevent the complete follow-on from one to another.

A cell using a meaning of a rep, or even a part of it, is designated as recalcitrant. The forms (Nature{}N), (expansion{}expansi-on) show this, as do, for “we are side-to-side he sighed”, the erasers (side{}sighed) and (side…side{}sighed). Another example is (track ter{}closely) related to “who track ter closely”.

In an eraser without a recalcitrant cell, a crisis is a situation in which, when a significance is at first expressed within a heap, the public suspects the creator wanted to be misunderstood, as he himself irremediably hampers the understanding of the heap he has put forward. A questionable brew of knots without reps leads to this crisis.

A door is an idea used when the heap occurs, capable of overcoming a crisis. It must show coherence with similar doors, and respect the views provided by the creator while being as simple as possible.

On the level of the full heap, a door brings inertia, that is, a background meaning in conformity with it. When nothing else likely to hamper our understanding comes to light in the context, despite the persistence of the inertia, the door is only used in relation to the crisis it overcomes. The ordinary meaning of the cells prevails, since this is enough to obtain a brew in each eraser.

In a situation in which a crisis is feared, after another has been declared and resolved, we turn to the door that has already been invented to see if there is any means of avoiding a similar danger. The poise is the content of a previously occurring door, successfully reused. Once he has been understood, we no longer accuse the creator of wanting to hamper our comprehension of his text. The significance of the assistance is the same in the door and the poise, but in the case of the latter, the declaration of any new crisis is avoided. If we imagine a door “beings which we suspect of having thoughts” concerning “pillars” in the eraser (words{}pillars) with a rail starting with “Words escape from living pillars…” we perceive that the door could also be used for (living{}pillars) and so there would be a poise.

Only erasers of types (E{}F) will be classified, and there are three kinds: the vice, the arrow and the leap. The first two each have only one form, while the leap can be of three kinds. This give us five sorts for the (E{}F) type. The vice occurs when a recalcitrant cell is linked to something else. Thus N and «Nature» are united in (Nature{}N). In a slightly different way (Comme¹…comme¹…comme²…comme³…comme’¹… comme’²…Comme²{}échos) (Like¹…as¹…as²…as […as]…as³…as’¹…Like²◊echoes) suggests that the creator wanted to produce an echo in the text [669].

The arrow is the archetypal eraser, the trusted marker in times of trouble, since it appears elementary. Indeed, within the heap, the two meanings it brings together are united by contact between the cells.

The first type of eraser with a leap is the meander. One or several pawns are passed over, but in very small numbers, going back to them afterwards by means of other links. By using this strategy, the cells that would make the description of the heap less clear-cut are avoided. In “she preferred the more youthful”, we are dealing with (preferred{}youthful), (more{}youthful).

The second type of eraser with a leap is the grappler which, through a logical connector, allows a large number of cells to be passed over. For “corruption had slowly spread in that bohemian milieu to such a depth, although it was not yet clearly perceived, that, propelled forward by the inconveniences of winter, it could not but carry the feeblest glimmer of kindness into the abysses of rivalry, hollowed out by relationships with illustrious patrons, and make those who formed this society forget their original friendships”, the grappler (milieu{}society) is justified since “society” is valid for “milieu”.

The final type of eraser with a leap is the catapult which, through a hardener, authorises many cells to be passed over.

The module, or plausibility of the eraser, is found in that of the proposition “in the passage of the heap where the eraser is based, the creator wanted the cells to be coherent with each other”. This value is 1/γελξ with, in the denominator, the ribbons or numerical criteria of implausibility: γ, gamma; ε, epsilon; λ, lambda; ξ, xi.

The first ribbon is the wheel, (γ), which measures the brew, giving γ=2 when the relationship between the knots leads to a serious difficulty, with no door or poise. Conversely, γ=1 occurs in two cases. First, with a creator who has envisaged a gleam, hitch, infiltration or connector, without wanting to hide this idea from his audience on this occasion. Secondly, when some kind of serious enigma is established but a door or poise is discovered.

The flux (ε) is equal to 2 in five situations, all relative to the cells. First, we obtain ε=2 if we take another meaning of the heap as a cell. Thus, for (de{}longs échos) ({}long echoes) or (Comme de{}longs échos) (Like◊long echoes), the flux is 2, as only (Comme{}longs échos) (Like◊long echoes) is necessary since the word «de» in such a case is not a front and would be left out in telegraphic style. The second case giving ε=2 occurs when there is an eraser with at least one cell whose meaning is borrowed from a rep with a manse of less than ½. The third case concerns the cells used, within the eraser, in a different order from that of the heap, while the fourth is when two cells, far from each other in the heap and without any connector to justify this fact, are used together in the eraser, with the result that one of them is not the one whose turn it should be in the development of the nut. Finally, we can note ε=2 when, in the nut, a cell which deserved to have been considered at a particular stage, is completely passed by.

The flag (λ) measures the distance of everything found in the eraser. If there is continuity of meaning, we have λ=1. If the contact is vaguer, the amount for (λ) is calculated otherwise. The ideas may have been put together there to be worked out: this gives one possibility: 1. The link may have been likely to be hazy from the outset: this gives another situation: 1. Thus we already have two eventualities: 2. A third case should be added, when the illusion is complete. The certainty, in this regard, is reinforced particularly as the tens (10) of fronts (n) separate the cells, since the risk of forgetting makes the plausibility of the creative link diminish. Taking all this together, λ=2+(1(n/10)) is therefore the quantity sought.

The train (ξ) is set at 1 when no crisis or poise affects the eraser under consideration. When the opposite occurs, seven cases will give ξ=2. The first arises in any situation where an obstacle has been defined but no door is present, while the second comes about when there is a door which proves contrary to the context, or incapable of being linked to the preceding meaning. The third occurs as a result of a solution incompatible with another used in the nut, and the fourth exists in a situation when, elsewhere in the nut and in a similar case, both crisis and poise had been ruled out. In the fifth case a meaning is put forward that is an illustration rather than the safeguard it appears to be, while in the sixth, poise and crisis are excluded, but there are two cells with different knots, which are also the terms of the same collision with a channel of 1 or ½. The seventh instance, a crisis or poise have been declared although no pair of cells, occurring in different knots, form the terms of the same collision with a channel of 1 or ½.

The profile of a nut is the product of the modules of its erasers, or in the plausibility of the proposition “the creator wanted the cells of the heap to be coherent”. In view of this, the notion of riveting is widened further to exclude any profile less than 1/16.

We may hesitate between (Correspondances{}répondent) (Correspondences◊answer) and (Correspondances{}Nature) (Correspondences◊Nature), as to the beginning of the nut. «Nature» follows «Corrrespondances» in the fronts, but this eraser would condemn us to a flag of the type λ=2+(1(n/10)), because there is a break between the first line and the title. Even if the separation is small and so gives λ=2+(1(0/10))=2, the module 1/γελξ cannot, with λ=2, exceed ½, which is the opposite of 2. In its turn, the profile of the nut will be a maximum of ½ since one of its modules will fall to this level. Fortunately, it is possible to choose a different nut, starting with the eraser (Correspondances{}Nature) (Correspondences◊ answer). The wheel γ=1 is justified since the infiltration “réponse” (reply), which is valid for «Correspondances» (Correspondences) and «répondent» (answer), is easy to understand through the marks within the words: “respond” and “répond”. The common root, which is a hardener, rules out any risk of a wide gap and so the flux is surely ε=1. The same shared root ensures the flag (λ) is 1 as the distance is annulled by the coupling “respond-répond”. With such solidarity, no crisis appears and therefore the train is ξ=1, with the resulting formation of a module 1/γελξ=1/(1)(1)(1)(1)=1 for the eraser (Correspondances{} répondent) (Correspondences◊answer).

The wheel γ=1 of the vice (Nature{}N) is evident since the meaning of N relates to importance of «Nature», guaranteeing the presence of a gleam. For the flux, ε=1 due to the fact that the rep (N-¦¦¦¦¦- importance) has a manse equal to 1. There can be no doubt that the flag (λ) is equal to 1, in view of the strong contact between the cells. The absence of crisis allows the train to be ξ=1. This gives us a module 1/γελξ=1/(1)(1)(1)(1)=1/1=1.

Let us see what module the meander (Nature{}temple) possesses. There is a serious obstacle to understanding it and so a crisis occurs here. The door is found in the addition “divine-like edifice” which prolongs the notion of «Nature». This gives for the creator and his audience “Nature, a divine-like edifice, is a temple.” The infiltration “edifice” is henceforth valid for the two cells, «Nature» and «temple», which gives a wheel γ=1. As no gap occurs, a flux ε=1 seems justified. The effect of the attribution results in a flag λ=1. The presence of the collision rb(Nature–temple) with a channel of 1 gives us the train ξ=1. This collision deserves the rank t=1 because the text clearly connects the notions «Nature» and «temple». The interior remoteness is s=1 thanks to the strong grammatical link between the ideas. The oscillations come to m=1=w since there is no way of escaping this conflict of ideas. Altogether this gives 1/tsmw=1/(1)(1)(1) (1)=1/1=1. Moreover, mention of any particular building is avoided, illustrating the heap, whether it is the sanctuary of Zeus at Dodona or the temple in Dendera, Egypt [273]-[487]. From the ribbons ξ=λ=ε=γ=1 come, for the eraser (Nature{}temple), a module 1/γελξ=1.

We must now examine (Nature{}is) and (temple{}where…pillars). In the first eraser, (Nature{}is), the hitch is easy to pick up as the author is just declaring his intention to attribute certain characteristics to the natural world, and so the wheel has the value γ=1. The flux (ε) is worth 1 since there is no gap. The value λ=1 is sure for the flag because the contact between the cells is intense. The lack of a crisis makes the train ξ=1, resulting in a module 1/γελξ=1. The eraser (temple{}where…pillars) rests only on the common notion of a space in which an architect has had several columns placed, justifying a wheel γ’=1. The flux appears at first to be in danger as «living» has been left out, but because of the fact that (living{}pillars) will be investigated, there is no gap and so ε’=1 is the appropriate value. The flag takes the level of λ’=1 from the close contact between the cells in the text. The figure ξ’=1 is allotted to the train because no crisis can affect (temple{}where…pillars). These reasons together give the module 1/γ’ε’λ’ξ’=1.

The brew of the arrow (living{}pillars) is not easy to understand since pillars, in general, are made of hard, inert stone, metal or wood, in spite of the example of Ulysses [454]: «The way this bed was made was my great secret! I made it entirely alone with my own hands. In the middle of the cloister, a young olive tree was growing; it was vigorous and its trunk was as thick as a pillar: I built round it…the walls of our bedroom…and once I had fitted it with a strong, well-fitting, wooden door, only then did I cut the foliage off, I carefully squared off the stump down to the roots and having polished it well and straightened it using a guideline, I used it as a prop on which to fix the rest; on this first support I set the whole bed, the frame of which I had finished…» The public has difficulty understanding all that is presented in the first line of „Correspondences“ and is therefore ready to suspect the creator of having done irreversible damage to his own text. The crisis of (Nature{}temple) used the door “divine-like edifice”, but this can provide little assistance here because the image of a construction contains no notion of anything living. Thus a new crisis is declared, and then we have no trouble in finding the door “animated as if by divine will” which continues the meaning of «pillars». The passage becomes: “Nature is a temple where living pillars, animated as if by divine will…” With the infiltration “animated” which applies to the two cells “living” and “pillars”, the public is no longer tempted to accuse the creator of having hidden his thoughts and so the value of the wheel is γ=1 in spite of the crisis. A flux of ε=1 is justified because the cells stay in the same order as they were in the heap. Furthermore their very close contact is sufficient to give a flag λ=1. When there is a door, the train ξ=1 is decided according to the existence of a collision with a channel of 1 or ½ using as terms cells from the eraser but in different knots. Let us check the plausibility of rb(living–pillars). Since there is no doubt in the affirmation in the text, the rank of this shock is t=1. The interior remoteness is s=1 since the grammatical relationship is very powerful. The oscillation of the term on the left in the formula, «living», has a value of m=2 because of the possibility of a literary figure weakening the paradox. The pillars would be living in the sense that their decoration would make them lively, animated. The oscillation of the term on the right, «pillars», is restricted to w=1, as there is no means to be seen of escaping from the problematic meaning. The result of 1/tsmw=1/(1)(1)(2)(1)=½ gives ξ=1 for the train of this module, which is thus 1/γελξ=1/(1)(1)(1)(1)=1.

The problem of the brew, within the eraser (piliers{}Laissent…sortir) (pillars◊Let forth) is resolved by the figurative meaning. In the same way slatted shutters allow some daylight through so, with the intervention of a hitch, a wheel γ=1 is acceptable. As we know that we will soon use «parfois» (at times), no gap occurs to spoil the commentary, which authorizes the flux ε=1. The flag is worth λ=1 since the contact between the knots is strong. The lack of a crisis gives us ξ=1 as the value of the train in this relationship, and all together this results in a module 1/γελξ=1.

By considering the wheel that contains the arrow (forth{}at times), we quickly establish a hitch, giving γ=1 since there is no misunderstanding the idea that sometimes something comes forth from a set point. The flux is then ε=1 since no gap appears. The clear grammatical connection gives the flag λ=1 while the lack of crisis makes it possible to count the train as ξ=1, from where we obtain a module 1/γελξ=1. Conversely, if we imagine an eraser (once{}still) and the impossibility of finding a door, we will obtain γ=ξ=2 with a module that cannot exceed 1/γελξ=1/(2)(1)(1)(2)=¼.

The arrow (confuses{}paroles) (confused◊words) deserves a wheel γ=1 because the image of confusion ties in with that of the words, without any local problems of understanding. The flux ε=1 since no gap remains. The value for the flag is λ=1, through the grammatical connection which is as close as possible. The lack of a crisis gives a train ξ=1 and from that we obtain the module 1/γελξ=1. Conversely, if we suppose (paroles{}confondent) (words◊mingle), the flag would be λ’=2+(1(17/10))=2+(1.7)=3.7 since there are 17 fronts blocking the memory, between «paroles» (words) and «confondent» (mingle): “…de vivants piliers Laissent parfois sortir de confuses paroles;/////(L')homme y passe (à) travers (des) forêts (de) symboles Qui l'observent avec (des) regards familiers. Comme (de) longs échos (qui) (de) loin se/////confondent…Les parfums, les couleurs et les sons se répondent.” (…living pillars Let forth at times confused words; There man passes through forests of symbols Which observe him with familiar eyes. Like long echoes which mingle in the distance…Perfumes, colours and sounds answer each other.) Of course we can look for a hardener between «confuses» (confused) and «confondent» (mingle), but to go as far as thinking it effective enough to link «paroles» (words) to «confondent» (mingle) seems rather rash.

The meander (sortir{}paroles) (forth◊words), in the simplicity of its constituent image, gives a guarantee for the wheel γ=1. The supplementary eraser (confuses{}paroles) (confused◊words), which has already been dealt with, gives the flux ε=1, since no gap has been introduced. A strong grammatical connection confers the flag λ=1. The absence of a crisis allows the train ξ=1, and so the module is constituted as 1/γελξ=1. With “…de vivants piliers laissent parfois des paroles sortir…” (…living pillars let forth at times words…) we would have an inversion of cells in (paroles{}sortir) (words◊forth), with nevertheless a greater contact between the notions.

When we are faced with the eraser (pillars{}words), it is tempting to accuse the creator of having simultaneously produced a series of notions and damaged their intelligence. The significance “animated as if by divine will” contained in the door used for (living{}pillars) is not sufficient here, since the words are not limited to one bringing to life and call for some intelligence to be applied. Thus since the poise envisaged is too vague, a new crisis can be declared regarding (pillars{}words). The door “giving the impression of thought as if by divine will” solves the crisis straightaway. Once in the prolongation of «pillars», we obtain “…living pillars, giving the impression of thought, as if by divine will, let forth at times confused words…” This door, which proves to be in conformity with the heap and in harmony with the other doors already used, allows the infiltration “giving the impression of thought” within each of the eraser cells: «words» and «pillars». As the author is no longer suspected of having hidden his idea, the wheel γ=1 is henceforth necessary. The separation of the cells does not produce any gap, because of the logical connector, and so the value of the flux is ε=1. The same grammatical virtues give a flag λ=1. For the eraser of a crisis, the train is fixed based on the channel of the related collision, it being here rb(pillars–words). As the syntax allows the distance between the terms to be overcome, the interior remoteness is s=1. The rank comes to t=1 because the text links the notion of words to that of columns in a clear affirmation. The oscillation of the term found on the left of the formula is m=1 due to the fact that, in a context where there is mention of a temple, with the image of «pillars», there is no way of avoiding the shocking meaning of the expression used by the poet. The oscillation of the term on the right, comes out as w=1 because «words» underlines the fact that thought is severely hampered. The channel proves therefore to be 1/tsmw=1/(1)(1)(1)(1)=1, leading to the train ξ=1. In turn, this last point in the module allows us to write 1/γελξ=1/(1)(1)(1)(1)(1)=1/1 =1.

With the arrow (homme{}y) (man◊there), a hitch gives the wheel γ=1, since imagining that man is somewhere cannot be an obstacle to clearer notions. The flux ε=1 is guaranteed by the strong logical link between the cells. This same close link gives the flag the value of λ=1. The train ξ=1 can be in no doubt since no crisis can be possible. A module 1/γελξ=1 emerges from this scene. Conversely, “La Nature est un temple/////où (de) vivants piliers laissent parfois sortir (de) confuses paroles; (L')/////homme passe à travers des forêts…” (Nature is a temple where living pillars let forth at times confused words; man passes through forests…) would have given a flag λ=2+(1(8/10))=2.8 for (temple{}homme) (temple◊man), since there are 8 fronts between the cells: «où», «vivants», «piliers», «laissent», «parfois», «sortir», «confuses», «paroles» (where, living, pillars, let, times, forth, confused, words).

Concerning (homme{}passe…travers) (man◊passes through), the wheel is worth γ=1 since «homme» (man) ties up with «passe…travers» (passes through) in a hitch that is easy to understand. The flux takes the value of ε=1 since «à», the idea omitted, is not the meaning of a front, and so no cell is forgotten in the nut. The flag has the level λ=1 because of the grammatical connection which is clear in spite of the omission mentioned previously. Since no threat of a crisis appears on the horizon, the train has the value ξ=1. In this way, the plausibility of the eraser is set at 1/γελξ=1. Conversely, if the plausibility of (homme{}esprit) (man◊mind) were measured, even if this relationship is of interest, the flux ε’=2 would have to be accepted, as there is no connector to link its distant cells. As a result it would be impossible to reach the level of 1 in the module, because of the relationship 1/γ’ε’λ’ξ’=1/(γ’)(2)λ’ξ’ with the ensuing prospect of never being able to go beyond ½. To this drawback, can be added a flag with a high value, because of the distance between the notions.

Concerning the arrow (travers{}forêts) (through◊forests), a wheel γ=1 is easy to defend since in the notion of «travers» (through), we have no difficulty in finding a hitch as regards «forêts» (forests). To determine the flux, we can write “…(L')homme y passe (à) travers (des) forêts (de) symboles…” (…There man passes through forests of symbols…) As we understand the basic essentials of the text, the series “à”, “des”, “de” does not need to take anything from the meaning of the fronts, and thus no cell has been forgotten in (travers{}forêts), which justifies ε=1. The flag λ=1 is proven correct through the close grammatical relationship between the cells. The train has the value ξ=1 because no crisis jeopardises a clear understanding of the heap. It follows from these values, γ=ε=λ=ξ=1, that the module is 1/γελξ=1. Conversely, for (à{}forêts) and (à travers{}forêts) (through◊forests) we would have ε=2, and this value would give a plausibility 1/γελξ=1/γ(2)λξ, condemning any nut to being unable to exceed ½.

The eraser (forêts{}symboles) (forests◊symbols) gives the impression of a figurative meaning describing a tightly-packed group of symbols, that is numerous evocative objects gathered closely together. In this way there is no complete incoherence in the content nor any dissimulation of it and the wheel γ=1 is valid. The flux is ε=1 since the word “de” (of) which is omitted here, cannot have the status of a front, meaning that no cell can have been forgotten. The value of the flag is λ=1 as a result of the clear contact between the images cited. To fix the train, the channel of rb(forests–symbols) has to be investigated, because the expression «forests of symbols» may have a paradoxical meaning, prompting us to declare a collision or a crisis. The rank t=1 is justified by the strong grammatical connection. The interior remoteness s=1 benefits from the same close link. The stylistic device relating to «…numerous long, closely-packed objects…» weakens the overall notion and so m=2 prevails [841]. The second oscillation takes the level w=1, because it does not allow for this kind of saving ambiguity. All together, a channel 1/tsmw=1/(1)(1)(2) (1)=½ comes to light, so that the train reaches ξ=1 and as a consequence the complete module comes up to 1/γελξ=1/(1)(1)(1)(1)=1/1=1.

The relationship (symbols{}Which observe him) threatens a crisis, since man should observe the rich symbolism present around him, rather than the opposite. Fortunately, the poise “giving the impression of thought as if by divine will” allows the public to prolong the meaning of «symbols» just enough to establish an infiltration “giving the impression of thought” which is present simultaneously within the knots «symbols» and «Which observe him». This makes it possible to rule out the suspicion that the creator caused lasting damage to the comprehension of the heap, thus justifying a wheel γ=1. The cells, which respect the order of the text, produce a flux ε=1. The flag λ=1 is imperative because «symbols» and «observe» are clearly linked for two reasons. First, the intuitive meaning «symbols
Which observe him» is more obvious than the other, “forests that observe him” Then, when we imagine that it is the “forests” that “observe”, it must be accepted that these woods are inhabited by “symbols”, and so we return to the first idea. The eraser of a poise must have a collision with a similar meaning, with a channel of 1 or ½ to obtain the best possible train. Regarding rb(symboles–observent), the rank reaches the level t=1, through the link that has just been discussed. The interior remoteness is s=1, because of the connection which surmounts the mutual distance between the notions, which was already slight on first appearance. The oscillation of the term expressed in the left-hand side of the formula, is m=1 as the literal meaning is necessary. The oscillation of the term expressed in the right-hand part, is w=1 for the same reason. Thus the channel is 1/tsmw=1/(1)(1) (1)(1)=1, and so a train ξ=1 is certain, giving a plausibility for the poise eraser of 1/γελξ=1.

When investigating the wheel of (symboles{}avec…regards familiers) (symbols◊with familiar eyes), we suspect a clear desire to hide the meaning. However once the poise “giving the impression of thought as if by divine will” is added to the meaning of «symbols», an infiltration “giving the impression of thought” soon unites the knots «symbols» and «with familiar eyes». A feeling of understanding the heap is produced, which rules out any vague impulse to accuse the creator of having irremediably damaged the intelligibility of his own text. Once complete confidence in the coherence of the passage in question has been re- established, the value of the wheel must be γ=1. The flux ε=1 is achieved by two means. First (symboles{}Qui l'observent) (symbols◊Which observe him) prevents any gap within the nut, using «Qui» (Which), “l'” (him), and “observent” (observe), three cells which otherwise would seem to have been overlooked. Furthermore «des» (of), which is also missing, is not at all a front. As for the flag, it can easily be seen that it is λ=1 because of the strong continuity in meaning uniting the knots. The train of the eraser of a poise is fixed according to the channel of the collision that resembles it. Here rb(symboles–regards) (symbols◊eyes) has the level t=1 if the looks are attributed to the symbols. Supposing that it is also the forests that look, the first impression remains valid, since the forests are composed of symbols. As the expression «Qui l'observent avec» (Which observe him with) does not obstruct the relationship of attribution currently under examination, the interior remoteness is s=1. The oscillation of the term situated on the left of the formula takes the level m=1 since «symbols» provides no way of escaping the collision in meaning. The oscillation of the term shown on the right is w=1, because the image of the «eyes» seems not to avoid the collision, taken as it is in its literal meaning. It follows from this that the channel is 1/tsmw=1/(1)(1)(1)(1)=1. We therefore have for the poise eraser, the train ξ=1, with overall the module 1/γελξ=1.

A reminder of the meaning is lacking when passing from one quatrain to the next and so a break in the continuity of meaning of the poem is to be feared. A wheel γ=1 for (familiar eyes{}Like long echoes) is valid because no crisis occurs, since «Like» weakens the significance. There is a very slight relationship between the contents of the images, since any familiarity links people who are close to each other, members of the same family or good friends, and so each one is “like” the others. In the order of the text, with no gap, the cells give a flux ε=1. The final full stop at the end of the first verse destroys any hope of an easily accessible coherence, thus leading to a flag of the type λ=(2+(1(n/10))). Fortunately, the lack of fronts between the cells allows us to obtain merely λ=(2+(1(0/10)))=2. As there is no crisis, the train is ξ=1, and so the module is 1/γελξ=1/(1)(1)(2)(1)=½.

Let us look at (Comme¹…comme¹…comme²…comme³…comme’¹…comme’²…Comme²{}échos) (Like¹…as¹…as²…as […as]…as³…as’¹…Like²◊echoes). The meaning of «échos» (echoes) reflects the insistence on the words «comme» (as) and «Comme» (Like), so it is not unreasonable to talk of a gleam, leading the wheel (γ) to be equal to 1. The flux ε=1 is justified for three reasons. First, «Comme» (Like) is linked to “échos” in the fifth line: «Comme de longs échos qui de loin se confondent…» (Like long echoes which mingle in the distance…) Secondly, the rep contains various elements which are joined internally by the hardener constituted by the vocal resemblance. Thirdly, the eraser shows a meaning that is already represented by the following rep, which has a manse of 1: (Comme¹…comme¹…comme²… comme³…comme’¹…comme’²…Comme²/-¦¦¦¦-/insistence) (Like¹…as¹…as²…as […as]…as³…as’¹…Like²/-/-/ insistence). The flag, as a result of the preceding arguments, is worth λ=1. As there is no crisis, the train is ξ=1. Overall, the module that arises has the value 1/(γελξ)=1.

With the eraser (échos{}loin) (echoes◊in the distance) we are faced with an arrow since the words «qui» (which) and «de» (in the) are not at all fronts. The wheel γ=1 is achieved through a hitch that is easy to understand. The flux ε=1 benefits from the fact that not a single cell has been omitted. The flag λ=1 cannot really be questioned in view of the fact that the notion «loin» (in the distance) applies to «échos» grammatically. The train ξ=1 seems obvious since there is no threat of a crisis. All in all, the module 1/ γελξ= 1 is easy to justify. On the contrary, if we took (echoes{}with no reflection in sound), there would be a crisis which, with no door available, would give γ=ξ=2, and so 1/(2)(2)=¼ as the maximum possible local plausibility.

A hitch guarantees a wheel γ=1 for the eraser (échos{}se confondent) (echoes◊mingle) since the phenomenon of the echo is commonly heard and so the idea is understood. The flux ε=1 is sure because no gap exists, thanks to the link (échos{}loin) (echoes◊in the distance) examined above, and owing to the fact that the words «qui» and «de» are not at all fronts. The powerful grammatical relationship gives a flag λ=1. As a crisis is impossible to define for such circumstances, the train ξ=1 is the only possibility for the last ribbon, and so the module is 1/γελξ=1. On the contrary (echoes{}noiseless) would have introduced a paradox and so the threat of a crisis, with the possibility of an absence of door and these two elements together would have given an overall result that could not have been more than 1/γελξ=1/(2)ελ(2)=¼.

The wheel γ=1 of (Comme…longs échos…loin se confondent{}parfums…couleurs…sons) (Like long echoes…mingle…distance◊Perfumes, colours…sounds) is not under any threat since the author deliberately connected the end of the second stanza to the beginning, and because the strange meaning is attenuated by «Comme» (Like). Thus the public feels the creator had no desire to lead astray nor any really odd meaning in mind. The flux ε=1 comes from the connector which allows a leap in the text. As for the flag λ=1, it is protected from any questioning by the same grammatical function, which entirely suppresses the distance between the knots. The train is ξ=1 because there is no fear of any crisis here. Thus a module of 1/γελξ=1 is obtained with no hindrance. With (longs échos…loin se confondent{}chantent…transports… esprit…sens) (long echoes…mingle in the distance◊sing…transports…mind…senses) we would have to jump 47 fronts between the most distantly separated cells, «longs» (long) and «sens» (senses). A flag λ=2+(1(47/10))=2+4.7=6.7 would be the result, from the 47 fronts that can be counted in “Comme de longs/////échos (qui) (de) loin se confondent, Dans (une) ténébreuse (et) profonde unité, Vaste comme (la) nuit et (comme) (la) clarté, (Les) parfums, (les) couleurs (et) (les) sons se répondent. (Il) est (des) parfums frais comme (des) chairs (d')enfants, Doux comme (les) hautbois, verts comme (les) prairies, -(Et) (d')autres, corrompus, riches (et) triomphants, Ayant (l')expansion (des) choses infinies, Comme (l')ambre, (le) musc, (le) benjoin (et) (l')encens, Qui chantent (les) transports (de) (l')esprit (et) (des)/////sens.” (Like long echoes which mingle in the distance, In a dark and profound unity, Vast as the night and as the light, Perfumes, colours and sounds answer each other. There are perfumes as cool as the flesh of children, Sweet as oboes, green as meadows, -And others, corrupt, rich and triumphant, Having the expansion of infinite things, Like amber, musk, benzoin and incense, Which sing of the transports of the mind and the senses.)

With the distinct hitch in the heap between the two cells of the arrow (profound{}unity), a wheel of γ=1 is quickly justified. The notion of depth leads to that of unity. In fact, depth is set against the superficial and unity often requires a system, and thus the opposite of fleeting appearances. The flux proves to be ε=1 for its part, because it benefits from a grammatical link. For this same reason the flag ( λ) also has the value 1. Since there is no threat of a crisis, the train must be ξ=1, giving us a module 1/γελξ=1. On the contrary, (profound{}surface), by using a paradox, would constitute a challenge to finding a minimal solution as accorded to the rest of the heap.

Since a hitch is easy to envisage, from Baudelaire’s apparent point of view, the wheel of (dark{} unity) is γ=1. The creator sees the unity of the echo as «dark», considering that some unknown structure exists there, in that several phenomena together give a single one. Immediately preceded by the arrow (profound{}unity), the meander dealt with here cannot produce a gap within the nut, justifying a flux ε=1. A flag λ=1 is guaranteed by the unequivocal grammatical link. The vagueness and obscurity of the link, making any crisis impossible, give a train ξ=1, so the complete module is 1/γελξ=1.

The arrow (dark{}profound) obtains a wheel γ=1 because the two ideas contain the infiltration “not easily allowing the content to be seen”. The flux ε=1 gains its advantage from the contact between the cells. The same observation applies to the flag λ=1. The only possible value for the train is ξ=1 since even the strongest imagination could not distinguish, a crisis in the eraser. All together, these observations lead to 1/γελξ=1 for the module. With (dark{}expansion) the number of cells neglected in the report would prevent the nut in which this eraser would be found, from being taken seriously, and so a disastrous flux and flag would be entirely justified.

Let us consider (Dans{}unité) (In◊unity) with (unité{}Vaste) (unity◊Vast). For the case of (Dans{} unité) (In◊unity), a wheel γ=1 is acceptable because the hitch is easy to grasp. The flux suffers apparently from the cells that are not mentioned, but the eraser (ténébreuse{}profonde) (dark◊profound) that has just been looked at, plus the advantage of the connector in the syntax, allows ε=1. We use the same grammatical link to obtain a flag λ=1. As far as the risk of a crisis is concerned, nothing of the kind is evident, leading to a train ξ=1, from which the module 1/γελξ=1 ensues. The second eraser, (unité{}Vaste) (unity◊Vast), gives us a wheel γ=1 from an understandable hitch, since unity, gathering together very different things, requires the necessary dimension to move from one to another [858]. The flux is ε=1 because no gap appears. The flag is λ=1 since there are no obstacles between the images. As for the train, the lack of a crisis gives it a value ξ=1, allowing the module to be 1/γελξ=1/(1)(1)(1)(1)=1/1=1. On the contrary, the flag λ=2+(1(30/10))=2+3=5, for (Dans{}expansion) (In◊expansion) warns the interpreter of his temerity if he tries to see a key to the text here. The brackets make the 30 fronts easy to be counted: “Comme de longs échos qui de loin se confondent, Dans///(une) ténébreuse (et) profonde unité, Vaste comme (la) nuit et (comme) (la) clarté, (Les) parfums, (les) couleurs (et) (les) sons se répondent. (Il) est (des) parfums frais comme (des) chairs (d')enfants, Doux comme (les) hautbois, verts comme (les) prairies, -(Et) (d')autres, corrompus, riches (et) triomphants, Ayant (l')///expansion des choses infinies...” (Like long echoes which mingle in the distance, In a dark and profound unity, Vast as the night and as the light, Perfumes, colours and sounds answer each other. There are perfumes as cool as the flesh of children, Sweet as oboes, green as meadows, -And others, corrupt, rich and triumphant, Having the expansion of infinite things…)

From (Vast{}as) we obtain a wheel γ=1, in that the first idea links up with the second. As soon as the image «Vast» appears, many references can be imagined through the notion «as». Thus the one initial thought leads to the other. The flux can only be ε=1 because no gap is produced. A flag λ=1 is justified by the syntactical connection. As there is no threat of a crisis, the train ξ=1 is indispensible and from that we obtain the module 1/γελξ=1.

Let us study (Vast{}as…night and…light) and (night{}light). In the first eraser, (Vast{}as…night and… light), the wheel is γ=1 because the hitch comes from the following idea: night and blinding light both remove the perception of obstacles, and so the space afforded to sight appears immense. It is as if it is subjectively freed from the limits hindering it once an honest light has been shed on it. The flux ε=1 is justified by means of (Vast{}as) which we have already dealt with and which prevents a gap forming. The syntax gives a flag λ=1. As «as» allows a crisis to be avoided, the train is ξ=1 and this, with the other ribbons, gives a module 1/γελξ=1. The eraser (night{}light) has a problematic wheel, because of the opposition it contains, but a crisis does not arise because the conjunction «as» weakens the conflict in meaning and allows the infiltration “aspects of the day”, giving a value of γ=1. The flux ε=1 comes from the repetition linking «...as…as…» and the flag is λ=1 for the same reason. The train ξ=1 depends closely on the channel 1/tsmw achieved by the shock in meaning rb(night–light), in view of the fact that, since no crisis has occurred, a plausibility different from 1/tsmw=1 and 1/tsmw=½ would be needed. The rank t=2 is based on the vagueness in the expression which results in indecision over whether «night» and «light» should be associated or opposed. An interior remoteness s=1 is guaranteed by the effectiveness of the grammatical link. From the hesitation between the complementary and opposing views of the relationship between «night» and «light», we obtain the values m=w=2. The channel 1/tsmw=1/(2)(1)(2)(2)=⅛ of rb(night–-light) hints at the possibility we have of denying any crisis exists for (night{}light). Thus the train is ξ=1 and the module reaches the level of 1/γελξ=1.

We will analyse (Perfumes{}colours) and (colours{}sounds). The knots of the initial eraser, (Perfumes{}colours), have an infiltration “objects of sensibility”, giving the wheel γ=1. The flux ε=1 follows on rapidly from this since no gap develops. The grammatical solidarity between the cells explains the flag λ=1. The train ξ=1 is justified since the mention of the federated images does not in itself produce a crisis. A module 1/γελξ=1 immediately results from this data. Exactly the same reflections are valid for the relationship (colours{}sounds).

The wheel of (parfums¹…couleurs…sons{}se répondent) (Perfumes…colours…sounds◊answer each other) causes the interpreter to face a crisis since he suspects Baudelaire of concealing what he meant. Nevertheless it is certain that γ=1 because the poise “giving the impression of thought as by divine will” makes this relationship comprehensible. From then on the infiltration “giving the impression of thought” binds together the eraser knots “parfums…couleurs…sons” (Perfumes…colours…sounds) and «se répondent» (answer each other). In this way the suspicion that the creator definitively and deliberately made his text less easy to understand disappears. A flux ε=1 proves useful as no gap in the heap arises. The flag is established as λ=1 because of the continuity of the line of verse which assures us the distances between the cells are of no importance. The train with a value of 1, for the eraser of a poise, requires a collision of similar meaning, with a channel of 1 or ½. Here we have rb(parfums–répondent) (perfumes-answer). The rank is t=1 in that in the eighth line the tone is categorical. The interior remoteness is s=1 because the discrepancy between the beginning and end of the line is diminished by the strong link in the syntax: «...Les parfums, les couleurs et les sons se répondent.» (…Perfumes, colours and sounds answer each other.) The oscillation of the term expressed on the left in the formula can be quantified as m=1 because of the dominant literal meaning. Whether the perfumes answer each other or respond to the colours and sounds, in any case they are carrying out something suspicious. The same observation is not valid for the term on the right, “répondent” (answer), since as it has a possible meaning “balance”, an oscillation w=2 is justified. Overall, the result is a channel of 1/tsmw=1/(1)(1)(1)(2)=½, and this value allows the train to be ξ=1 for the eraser (parfums…couleurs…sons{}se répondent) (Perfumes…colours…sounds◊answer each other), leading to the module 1/γελξ=1. We would fail to obtain the same channel of ½ with rb(sounds–answer) as there, «sounds» makes us think of “voices” and this in turn to «answer» so that any conflict in meaning would be avoided. An intermediary situation would occur with rb(colours–answer). Now, taking the whole, «colours» and «sounds» are both dominated by the influence of «Perfumes», are led towards a risky situation.

The eraser (Perfumes{}perfumes) allows the second quatrain to be linked to the tercets, thus avoiding a punctuation break and allowing the continuity of the heap to be recognized. We obtain a wheel γ=1 since it would be unimaginable for the two cells not to contain any infiltration. The flux ε=1 seems guaranteed by the hardener that comes from the identity of the word expressing the two cells. On the other hand, the same connector benefits the flag by eliminating the apparent distance between the images in the heap, giving a measurement λ=1. The train, taking advantage of the impossibility of a crisis, will be ξ=1. In this way we can be sure of a module 1/γελξ=1.

The wheel of (are{}perfumes) has the value γ=1 in that notions of existence open the way to almost any other idea. The only one that might be debatable is that of nothingness, but the perfumes, although their particles may be very slight, cannot be mentally characterized in this way. The flux is worth ε=1 because of the contact between the cells which leaves no room for any gaps. The same argument also applies for the flag, so λ=1, from the highly logical contact. With no crisis present, there can be no doubt that the train (ξ) is 1, and therefore we can accept the module 1/γελξ=1.

For the eraser (perfumes{}cool), the wheel has a level γ=1 because the first cell has an easily understandable hitch as regards the second. A flux ε=2 appears necessary since no cell has been omitted. Irreproachable syntax gives a flag λ=1. As there is no reason to fear a crisis will arise, the train is obviously ξ=1, with the result that the module is 1/γελξ=1. With (temple{}cool), the distance between the images would have been harmful to the description, even if we have the impression that it would be very interesting to draw the ideas together, to explain the beginning of the first tercet.

We will now examine (comme{}chairs…enfants) (as◊flesh…children) and (parfums²{}comme…chairs …enfants) (perfumes◊as…flesh…children). For the first link, (comme{}chairs…enfants) (as◊flesh… children), the wheel is worth γ=1 in that the initial cell leads onto the others. After «comme» (as), examples can be quoted, and the notion «chairs d'enfants» (flesh of children) is one of these. The flux ε=1 is also a certainty due to the fact that «des» (indefinite plural article) and «d'» (of) are no fronts, these being only admitted in telegraphic style, the yardstick for the measurement of the distance of the cells. The minimum flag λ=1 is guaranteed by the grammatical unity between the words which cancels the apparent distance between the images. The train ξ=1 must be true since there is no fear of a crisis, and this leads us firmly to the module 1/γελξ=1. With the other eraser, (parfums²{}comme…chairs…enfants) (perfumes◊as…flesh… children), we obtain a wheel γ=1, as the moderate rapprochement introduced by «comme» (as), makes the idea easy to accept in poetry of the romantic period. The flux ε=1 is also a certainty due to the fact that «des» (indefinite plural article) and «d'» (of) are not fronts, these being only admitted in telegraphic style, the yardstick for the measurement of the distance of the cells. A flag λ=1 is suitable in the circumstances as a result of the link in the syntax. The lack of crisis gives a train ξ=1, so once again the situation gives us a module of 1/γελξ=1.

The eraser (cool{}flesh…children) initially presents us with some difficulties since a minimum meaning must be interpreted for it, that is, without choosing the fact that it is constituted within an allusion to the sense of touch, or that the basis of the meaning evokes, on the contrary, colour. On the one hand, a child often runs out in the biting morning air, if she is allowed the freedom so to do, making her cheeks red with cold. Furthermore, skin without wrinkles gives an impression of newness that is difficult to represent in a painting. This dual meaning assures in any case the second knot is hitched to the other and so gives a wheel γ=1. As the eraser discussed previously (comme{}chairs…enfants) (as◊flesh…children) prevents any mention of a gap, the only flux possible is ε=1. The «comme» (as…as) which links the knots present here gives us a flag λ=1. As for the train ξ=1, it is made certain by the fact that there is no crisis because the parallel, with the use of «comme» (as…as), remains a simple confontation. The result of this is that the module is no higher than 1/γελξ=1. On the other hand, if we suppose (cool{}oboes) in spite of the correctness of the remark, the result would be too inaccurate as regards the heap, and so the plausibility of the nut would plummet, through the considerable power coming from the ribbons (ε) and (λ).

The wheel of the flag (perfumes{}sweet) is γ=1 from the hitch that is evident because it conforms to what is usually thought. The flux ε=1 appears justified because no gap arises, thanks to the grammatical connector of logical attribution. The flag λ=1 is unavoidable for the same reason of grammar. As there is no threat of a crisis, the train ξ=1 is indispensible, leading us to the module 1/γελξ=1. It should not be argued that the title «Correspondences» produces the long series of links between meanings of the same kind and, just before, the crisis in the eighth line where «answer» occurs. If this type of hypothesis were followed, a one-thousand-page novel would have to be considered entirely paradoxical if just the title was so. To split the poem into different stages and avoid being misled in this way, we had to make numerous distinctions.

As far as (perfumes{}as oboes) is concerned, the hitch is a grammatical certainty and justifies a wheel γ=1. The flux ε=1 raises no doubts, because of the connector. In the same way the flag λ=1 rests on the elimination of distance. By preventing any crises from occurring, the confrontation gives a train ξ=1, and so the module can only be 1/γελξ=1 under these conditions.

Regarding (parfums²{}verts comme…prairies) (perfumes◊green as meadows) there is a new problem of interpretation. The meaning is “perfumes of a green colour like that of meadows” or, “perfumes that smell acidic, just as the green colour of meadows is intense, when the new season begins, to the sight”. Since the nut has to make do with the minimal notion, it is impossible for us to bring together the two images. Moreover none of them completely cancels the competing idea. The first interpretation easily shows the fact that a hitch exists. The second uses «comme» (as) to adopt also the principle of the hitch. In any case, as a result of this, the level of the wheel is γ=1. In view of the fact that the grammatical relationship «Il est des parfums...verts comme des prairies...» (There are perfumes…green as meadows…) could not be more sure, the flux can be set at ε=1. The flag benefits from the same logical connector, making it equally λ=1. The threat of a crisis cannot hold out against the plectrum «comme» (as) and so there is nothing to prevent a train of ξ=1. Overall a module 1/γελξ=1 thus appears the most suitable. By opting for “meadow-green perfumes” only, the discussion would move forward more quickly but the eighth line would no longer have as much weight, given that the combination “perfumes, colours, sounds” can hardly be justified for “perfumes the same colour as the meadows”.

The wheel of (green{}meadows) is γ=1 because of the already much-discussed hitch. Having previously examined the eraser (perfumes{}green as meadows), we have a guarantee that no gap can appear so the flux ε=1 is justified. The close logical contact ensures the flag is λ=1 and, with the lack of a crisis giving us a train ξ=1, the module must be 1/γελξ=1. On the other hand, if we had taken (oboes{} green), we would have had to circumvent a crisis or accept a train and a wheel of 2, which would have meant that the profile would never have exceeded the level of ¼.

For the eraser (perfumes{}others) the wheel has a level of γ=1 since the hitch is evident in view of the number of categories of pleasant smells: jasmine, resin from conifers, for example. The flux is ε=1 since the logical connector allows many cells to be skipped over. For the same reason, this grammatical relationship eliminates the fading of memory resulting from the distance between the cells, giving us a flag λ =1: «There are perfumes as cool as…And others…» The train ξ=1 merely follows from the necessary absence of a crisis, so that there is no difficulty in the module amounting to 1/γελξ=1.

Let us study (perfumes{}corrupt), (perfumes{}rich) and (perfumes{}triumphant). The wheel of (perfumes{}corrupt) appears difficult to grasp since the notion of chemical corruption is difficult to apply in the context. Fortunately we can understand “perfumes used by corrupt people” and so no crisis arises for the moment, and the eraser is understandable, giving us a wheel γ=1. The flux is ε=1 since the logical connector allows several cells to be skipped, to follow the meaning of the text «There are perfumes as cool…And others, corrupt, rich and triumphant…» The same reflection appears correct as regards the flag, which therefore has the value λ=1. The train cannot exceed ξ=1 with no crisis or poise occurring and so the module must be noted as 1/γελξ=1. It is true, as we have a collision with a channel of 1, rb(corrupt– incense), and incense is a perfume, we sense there is a difficulty for the rest of the nut. Nevertheless, having opted to abstain from declaring a crisis, in case it should prove possible to delimit the problem area in some way, it would be advisable to wait till the delicate passage before indicating such an event has occurred. The plausibility of (perfumes{}rich) and (perfumes{}triumphant) is 1/γελξ=1 in both cases since it would be strange to encumber these erasers with a crisis, whereas (perfumes{}corrupt) is able to avoid this encumbrance.

The wheel of (others{}Having…expansion…infinite things) turns out to be γ=1 in that the hitch is easy to see, «others» making it so easy to see what is wanted from it. With the erasers (perfumes{}corrupt), (perfumes{}rich) and (perfumes{}triumphant), previously examined, each of the cells skipped over in (others{}having…expansion…infinite things) is supplied: “…(And) others, corrupt, rich (and) triumphant, Having (the) expansion (of) infinite things…” From there it follows that the flux is ε=1. Thanks to the grammatical link, there is no risk in setting the flag at λ=1. Since it is possible to take the knot mentioned on the right as a literary figure of exaggeration with the meaning “which have infinitesimal particles”, there is no need to declare a crisis and so the train is ξ=1. The total for the ribbons is (γ)(ε)(λ)(ξ)=(1)(1)(1)(1)=1 and therefore the module is 1/γελξ=1/(1)(1)(1)(1)=1. It would be possible to find the same result with (perfumes…others{}Having…expansion…infinite things) since «others» means “other perfumes²”, through the logical connector.

Let us look at the erasers (infinite things{}Like amber), (infinite things{}Like…musk), (infinite things{}Like…benzoin) and (infinite things{}Like…incense). The first of these has a wheel γ=1 because the hitch is comprehensible since «infinite» could constitute a literary extravagance for “with infinitesimal particles”. We also have a flux ε=1 because of the uninterrupted nature of the series of cells: “…Having (the) expansion (of) infinite things, Like amber…” The same reason justifies a flag set at λ=1 and lastly, the train is worth ξ=1 because the threatened crises are eliminated by the highly plausible stylistic device just referred to. The ribbons γ=ε=λ=ξ=1 lead to a module 1/γελξ=1. We can easily extend the former result to the final three erasers: (infinite things{}Like…musk), (infinite things{}Like…benzoin) and (infinite things{} Like…incense).

Let us examine the erasers (triumphant{}tri-umphant) and (expansion{}expansi-on). The creator, in what we call (triumphant{}tri-umphant), uses the “i” to stress the evocation of shrillness. It can suggest the sound of the sword penetrating flesh, the swish as it passes through the air, the victim’s cry of pain, or on the contrary, that of the pleasure of the victor. In any case, the imagination immediately conjures up a fantasy related to the senses, giving a gleam and therefore a wheel γ=1. The flux ε=1 is easily acquired through the rep (F-triumphant…expansion/-¦¦¦¦-/S-tri-umphant…expansi-on) with a manse of 1. The simple fact of staying in one place in the poem gives a flag of λ=1, from a perfect continuity in the words. There is no crisis since the meaning of a rep cannot produce one. Thus the train is ξ=1 and it follows that the module is 1/γελξ=1. The eraser (expansion{}expansi-on) has the same plausibility since the wheel has a value of γ’=1 because of the same “i” sound which can evoke an emission of steam, thus guaranteeing the necessary gleam. The flux ε’=1 comes, as in the case just seen, from the manse of 1 obtained by the rep (F-triumphant…expansion/-¦¦¦¦-/S-tri-umphant…expansi-on). The immobility observed also provides the argument for the flag with a value of λ’=1. Similarly, for the train, there being no crisis, the basis for ξ’=1 is assured.

A crisis occurs for (corrupt{}incense) due to the fact that incense is the traditional perfume of temples. If we use the significance “There are perfumes…cool…and others, corrupt…like…the persons who burn incense…” we are stating that people of the Church are corrupt and this does not accord with Baudelaire’s thinking, as shown elsewhere. Thus the difficulty, which had spared (perfumes{}corrupt), (perfumes{}rich) and (perfumes{}triumphant) threatens to affect (corrupt{}incense) for a specific reason. The notion “animated as if by divine will”, used to surmount the crisis in (living{}pillars) cannot suffice here as it does not deal with the problem of vice compromising the incense. The meaning “giving the impression of thought as if by divine will” used for (pillars{}words) is not effective either in this regard. Therefore there is a new crisis for (corrupt{}incense). The door “which seems active simultaneously for good and evil” solves the problem since it provides a way of approaching the question of vice. The result can be shown thus: “There are perfumes…cool…and others, corrupt…like…the incense that seems active simultaneously for good and evil”. This prolongation of the idea within «incense» gains an infiltration “participating in evil” and benefits the cells «corrupt» and «incense». We can stop suspecting the author of having deliberately and irremediably made his text more difficult to comprehend, and so a wheel with a value of γ=1 is obtained in spite of the crisis. The flux is worth ε=1, from the certainty of the logical connector, which reinforces the idea of incense as an example of a corrupt perfume, thus preventing any gap between one idea and another. The flag can be set at λ=1 as the same grammatical connector eliminates the distance within the two images. In a crisis situation, the train is linked to the fate of a neighbouring collision with a channel of 1 or ½. In rb(corrupt–incense), the rank has a value of t=1 because the text places the incense strongly on the side of corruption. The interior remoteness is s=1 because the syntax unites the terms. The oscillation of the term on the left of the formula is m=1. This adjective cannot be valid in the first place for “chemically corrupt” and so the moral sense must stand out in a shocking way if we think of the religious use of incense. The oscillation of the term on the right of the formula is limited to w=1, saved as it is by the context, with «perfumes» which make the meaning “praise” unconvincing. From there it follows that the channel is 1/tsmw=1/(1)(1)(1)(1) which has to be equal to 1, permitting the train ξ=1 as already discussed. In turn, this value leads to 1/γελξ=1 for the module, even though a crisis occurred.

Let us examine the erasers (corrupt{}amber), (corrupt{}musk) and (corrupt{}benzoin). The wheel of (corrupt{}amber) is γ=1 because the hitch remains comprehensible in view of the relationship between the high price of perfume, the possession of immense riches and the possibility of corrupting the words of others by buying off their consciences. The religious question which will have to be examined in the case of (corrupt{}incense) does not apply here. As this reference cannot have the force of law, we can envisage (corrupt{}amber) in the same way as we analysed (perfumes{}corrupt) above. The flux is ε=1 because of the evident logical connector in «There are perfumes…cool…And others, corrupt…Like amber…» The flag, using the same reasoning, has a level of λ=1. In the absence of crisis, it is quite consistent for the train to be ξ=1, and so the total for the ribbons is (1)(1)(1)(1) and the module is 1/γελξ=1. The two other erasers (corrupt{}musk) and (corrupt{}benzoin) must necessarily follow this model, as we find the same values applicable in their cases.

The wheel of (rich{}incense) does not pose the same problem as (corrupt{}incense) since opulence seems compatible to Baudelaire with the ecclesiastic vocation. The door opened for (corrupt{}incense) remains inert and so is only felt as a background accompaniement to thought and does not lead to a poise. From this it follows that there is an infiltration “opulence” in the two cells «rich» and «incense» and so the wheel is γ=1. The flux is ε=1 since the logical connector allows many intermediary cells to be skipped over: «rich…Like…incense». The same argument can be applied for the flag λ=1. For the train, the lack of a crisis makes it ξ=1, which completes the series of ribbons or levels of implausibility at γελξ=(1)(1)(1)(1)=1, which in turn allows the module to be 1/γελξ=1/1=1.

The erasers (rich{}amber), (rich{}musk) and (rich{}benzoin) must now be examined. The wheel of (rich{}amber) can be fixed without difficulty at γ=1 because the infiltration “opulence” belongs to «rich» as well as to «amber». The flux is ε=1 from the grammatical connector of the heap: «rich…Like…amber». A flag of the same value, λ=1, can be justified by the same argument, by the contact between the cells, in spite of the apparent distance. The train acquires the level of ξ=1 since no crisis can be seen. In this way, the series of ribbons leads to the module 1/γελξ=1. The other plausibilities, with regard to the erasers (rich{}musk) and (rich{}benzoin) have an identical value for the same reasons.

We must now seek the values for the plausibility of (triumphant{}amber), (triumphant{}musk), (triumphant{}benzoin) and (triumphant{}incense). For this last eraser, (triumphant{}incense), the wheel is worth γ=1 because the two cells have an infiltration “victory”, since dignitaries used to burn incense on an altar to victory in Ancient Rome. The flux is worth ε=1 because the grammatical connection «triumphant… Like…incense» seems clear and this same point makes the flag λ=1. Since there is no threat of a crisis, the train is ξ=1. From all these measurements, we obtain a module 1/γελξ=1. The difficulty related to the religious use of incense remains in the back of our minds, with the inertia of the door from (corrupt{} incense). The other erasers, (triumphant{}amber), (triumphant{}musk) and (triumphant{}benzoin) can be treated in a similar way to (triumphant{}incense), even more easily.

Let us study the plausibility of (Comme{}ambre…musc…benjoin…encens), (ambre{}musc), (musc{} benjoin) and (benjoin{}encens) [(Like◊amber, musk, benzoin…incense), (amber◊musk), (musk◊benzoin) and (benzoin◊incense)]. The wheel of (Comme{}ambre…musc…benjoin…encens) (Like◊amber, musk, benzoin…incense) is worth γ=1 because of a hitch. Indeed, “Comme” (Like) can be the opening to any series or list. The flux ε=1 proves necessary as «l'¹», «le¹», «le²», «et» and «l'²» (one conjunction and four articles) are no fronts and so there is no gap. The flag λ=1 is appropriate, due to the type of grammatical link between the cells. The lack of a crisis makes the train of this eraser ξ=1, leading to the module 1/γελξ=1. We will now consider (ambre{}musc) (amber◊musk). Its wheel is γ’=1 from the infiltration “costly perfume” which works without any problem. Since the cells are just mentioned in a row, the flux ε’=1 is indispensible. For the flag, a value of λ’=1 is appropriate because of the close syntax. No crisis arises from the brew and so it is fair to accept a train ξ’=1. In this way we reach a module of 1/γ’ε’λ’ξ’=1. The other erasers, (musc{}benjoin) (musk◊benzoin) and (benjoin{}encens) (benzoin◊incense) have the same plausibility for similar reasons.

The eraser (Which{}sing…transports) supposes that the corrupt perfumes sing. This therefore replaces (perfumes…others, corrupt, rich…triumphant{}sing…transports). As the figurative meaning is a possibility, no crisis arises and we can understand the sense: “Which are used to celebrate the transports of the mind and the senses” [833]. In this way we say that the stained glass windows of a cathedral sing to the Lord. The wheel of (Which{}sing…transports) is therefore worth γ=1. The flux is set at ε=1 because of the contact between the cells, preventing any gap forming. In a similar way, the grammatical link leads to a flag λ=1. The train is ξ=1 because no apparent crisis occurs and so the module is 1/γελξ=1. For the rail “...which sing with their voices really produced and heard...” we would have had to conclude that a crisis had occurred, and so risk the lack of a door, with the problem of seeing γ=ξ=2 justified.

The wheel of (chantent{}transports) (sing◊transports) is worth γ=1 because the figurative meaning allows us to avoid a crisis. The flux has the value ε=1 since “les” (the) is not a front and so no gap arises from its not being present in the eraser. Thanks to the grammatical link, the flag reaches the level λ=1. Preventing a crisis, the figurative meaning of «sing of the transports» allows this relationship to have a train of ξ=1. It is true that in the case of a better idea, concerning the context, giving then a collision with a channel of 1 or ½, with rb(chantent–transports) (sing-transports), we would immediately have to change our minds on the above. As it is, for the rank, t=1 is justified by the affirmation in the link between the terms «chantent» (sing) and «transports». The interior remoteness s=1 benefits from the same close link. The left oscillation is m=2 because of the literary figure of speech which avoids the shock in meaning. The right oscillation reaches the level of w=2 in that the figurative sense of «transports» makes it easy to imagine how fragrances could «sing» of various feelings. Thus the channel is ¼=1/tsmw=1/(1)(1)(2)(2) and it does not matter that there is no crisis here given that there is only a one-in-four chance that the objective deep- rootedness of the collision really exists in the creator’s mind.

Let us examine the erasers (transports{}esprit…sens) (transports◊mind…senses) and (esprit{}sens) (mind◊senses). As the first knot hitches up with the second, based on a time-honoured image, the wheel of (transports{}esprit…sens) is worth γ=1 [857]. The flux takes the value ε=1 since «de» (of), «l'» (the), «et» (and), «des» (of the) are no fronts, and so no gap appears in the series of cells. The flag is λ=1, thanks to the grammatical link. The figurative meaning of «transports» shows us there is no threat of a crisis, giving a train ξ=1 and thus a module 1/γελξ=1. The relations of meaning “transports-esprit” (transports-mind) and “transports-sens” (transports-senses) do not give any problem, because «transports» may easily be linked to the images of man’s faculties. As for (esprit{}sens) (mind◊senses), the wheel of its module is γ’=1 from the infiltration “major aspect of the human being”. The flux is ε’=1 thanks to the insignificance of the notions separating the cells. Regarding the flag, the grammatical link gives us λ’=1. The complementarity of the images prevents their conflicting nature from provoking a crisis, leading to ξ’=1 and therefore to a module of 1/γ’ε’λ’ξ’=1.

We will now review the quota to determine whether the selected nut conforms to its constituent requirements. We should obtain (n-1) erasers for (n) cells. First we have the 74 front meanings: Correspondances (Correspondences), 1; Nature (Nature), 2; est (is), 3; temple (temple), 4; où (where), 5; vivants (living), 6; piliers (pillars), 7; Laissent (Let), 8; parfois (at times), 9; sortir (forth), 10; confuses (confused), 11; paroles (words), 12; homme (man), 13; y (There), 14; passe (passes), 15; travers (through), 16; forêts (forests), 17; symboles (symbols), 18; Qui¹ (Which¹), 19; l' (him), 20; observent (observe), 21; avec (with) , 22; regards (eyes), 23; familiers (familiar), 24; Comme¹ (Like¹), 25; longs (long), 26; échos (echoes), 27; loin (in the distance), 28; se (), 29; confondent (mingle), 30; Dans (In), 31; ténébreuse (dark), 32; profonde (profound), 33; unité (unity), 34; Vaste (Vast), 35; comme¹ (as¹), 36; nuit (night), 37; et (and), 38; clarté (light), 39; parfums¹ (Perfumes), 40; couleurs (colours), 41; sons (sounds), 42; se (each other), 43; répondent (answer), 44; est (are), 45; parfums² (perfumes), 46; frais (cool), 47; comme³ (as […as]), 48; chairs (flesh), 49; enfants (children), 50; Doux (Sweet), 51; comme’¹ (as³), 52; hautbois (oboes), 53; verts (green), 54; comme’² (as’¹), 55; prairies (meadows), 56; autres (others), 57; corrompus (corrupt), 58; riches (rich), 59; triomphants (triumphant), 60; Ayant (Having), 61; expansion (expansion), 62; choses (things), 63; infinies (infinite), 64; Comme² (Like²), 65; ambre (amber), 66; musc (musk), 67; benjoin (benzoin), 68; encens (incense), 69; Qui² (Which²), 70; chantent (sing), 71; transports (transports), 72; esprit (mind), 73; sens (senses), 74. We will add to these terms of arbitration the meaning of the N of «Nature», making 74+1=75 cells. As for the erasers of the nut, these are: (Correspondances{}répondent) (Correspondences◊ answer), 1; (Nature{}N), 2; (Nature{}temple) 3; (Nature{}est) (Nature◊is), 4; (temple{}où…piliers) (temple◊ where…pillars), 5; (vivants{}piliers) (living◊pillars), 6; (piliers{}Laissent…sortir) (pillars◊Let forth), 7; (parfois {}sortir) (forth◊at times), 8; (confuses{}paroles) (confused◊words), 9; (sortir{}paroles) (forth◊words), 10; (piliers{}paroles) (pillars◊words), 11; (homme{}y) (There◊man), 12; (homme{}passe…travers) (man◊passes through), 13; (travers{}forêts) (through◊forests), 14; (forêts{}symboles) (forests◊symbols), 15; (symboles{} Qui¹ l' observent) (symbols◊Which¹ observe him), 16; (symboles{}avec…regards familiers) (symbols◊with familiar eyes), 17; (regards familiers{}Comme¹…longs échos) (familiar eyes◊Like¹ long echoes), 18; (Comme¹…comme¹…comme²…comme³…comme’¹…comme’²…Comme²{}échos) (Like¹…as¹…as²…as [… as]…as³…as’¹…Like²◊echoes), 19; (échos{}loin) (echoes◊in the distance), 20; (échos{}se confondent) (echoes◊mingle), 21; (Comme¹…longs échos…loin se confondent{}parfums…couleurs…sons) (Like¹…long echoes…mingle…distance◊Perfumes, colours…sounds), 22; (profonde{}unité) (profound{}unity), 23; (ténébreuse{}unité) (dark{}unity), 24; (ténébreuse{}profonde) (dark{}profound), 25; (Dans{}unité) (In◊unity), 26; (unité{}Vaste) (unity◊Vast), 27; (Vaste{}comme¹) (Vast◊as¹), 28; (Vaste{}comme¹…nuit et…clarté) (Vast◊as¹…night and…light), 29; (nuit{}clarté) (night◊{}light), 30; (parfums¹{}couleurs) (Perfumes◊colours), 31; (couleurs{}sons) (colours◊sounds), 32; (parfums¹…couleurs…sons{}se répondent) (Perfumes… colours…sounds◊answer each other), 33; (parfums¹{}parfums²) (Perfumes◊perfumes), 34; (est{}parfums²) (are◊perfumes), 35; (parfums²{}frais) (perfumes◊cool), 36; (comme³{}chairs…enfants) (as […as]◊flesh… children), 37; (parfums²{}comme³…chairs…enfants) (perfumes◊as [as…] flesh…children), 38; (frais{}chairs …enfants) (cool◊flesh…children), 39; (parfums²{}Doux) (perfumes◊Sweet), 40; (parfums²{}comme’¹… hautbois) (perfumes◊as³ oboes), 41; (parfums²{}verts comme’²…prairies) (perfumes◊green as’¹ meadows), 42; (verts{}prairies) (green◊meadows), 43; (parfums²{}autres) (perfumes◊others), 44; (parfums²{} corrompus) (perfumes◊corrupt), 45; (parfums²{}riches) (perfumes◊rich), 46; (parfums²{}triomphants) (perfumes◊triumphant), 47; (autres{}Ayant…expansion…choses infinies) (others◊Having…expansion… infinite things), 48; (choses infinies{}Comme²…ambre) (infinite things◊Like² amber), 49; (choses infinies{} Comme²…musc) (infinite things◊Like²…musk), 50; (choses infinies{}Comme²…benjoin) (infinite things◊ Like²…benzoin), 51; (choses infinies{}Comme²…encens) (infinite things◊Like²…incense), 52; (triomphants{} tri-omphants) (triumphant◊tri-umphant), 53; (expansion{}expansi-on) (expansion◊expansi-on), 54; (corrompus{}encens) (corrupt◊incense), 55; (corrompus{}ambre) (corrupt◊amber), 56; (corrompus{}musc) (corrupt◊musk), 57; (corrompus{}benjoin) (corrupt◊benzoin), 58; (riches{}encens) (rich◊incense), 59; (riches {}ambre) (rich◊amber), 60; (riches{}musc) (rich◊musk), 61; (riches{}benjoin) (rich◊benzoin), 62; (triomphants {}ambre) (triumphant◊amber), 63; (triomphants{}musc) (triumphant◊musk), 64; (triomphants{}benjoin) (triumphant◊benzoin), 65; (triomphants{}encens) (triumphant◊incense), 66; (Comme²{}ambre…musc… benjoin…encens) (Like²◊amber, musk, benzoin…incense), 67; (ambre{}musc) (amber◊musk), 68; (musc{}benjoin) (musk◊benzoin), 69; (benjoin{}encens) (benzoin◊incense), 70; (Qui²{}chantent…transports) (Which²◊sing…transports), 71; (chantent{}transports) (sing◊transports), 72; (transports{}esprit…sens) (transports◊mind…senses), 73; (esprit{}sens) (mind◊senses), 74. Thus we reach the quota of the nut, that is, for 75 cells, 74 erasers, or for (n) cells, (n-1) erasers.

Let us follow the diagrammatic make-up of the nut by looking at the profile, poises and doors. As regards Baudelaire’s wish to make his poem „Correspondences“ coherent in itself, the nut has a profile of ½ since all the erasers have modules of 1, except (familiar eyes{}Like long echoes) which only reaches the level 1/γελξ=1/(1)(1)(2)(1)=½. We have therefore the product of 73 times 1, with a value of ½, giving overall: (1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1/2)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1) (1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)=½. Let us now try to grasp the minimum meaning newly added to the literal significance of the text. The door “divine-like edifice” which prolongs «Nature» in (Nature{}temple), acts on all the rest of the poem thanks solely to inertia and so does not lead to any poise. As for (living{}pillars), its door “animated as if by divine will” resolves this new crisis, but must settle for inertia elsewhere. The eraser (pillars{}words) obtains the door “giving the impression of thought as if by divine will”, which is more successful since it provides a poise in (symbols{}Which observe him), (symbols{}with familiar eyes), (Perfumes…colours… sounds{}answer each other). The final crisis in the poem, that of (corrupt{}incense) gives the door “which seems active simultaneously for good and evil”. This extension of the cell «incense» is not reused as a poise in the rest of the nut. Having noted 4 doors and 3 poises, this total establishes the presence of 7 effectively surmounted difficulties, in 74 erasers which is almost one tenth or 1/10. At the same time, 7 obstacles to easy understanding, over 14 lines, give one alert every two lines and this provides an acceptable description of all the questions vaguely touched on in „Correspondences“. Almost to the contrary, as regards the mind, we have the same numerical ratio for the 7 uses of «Comme» and «comme» ("Like" or "as") which also appear on average once every two lines.