Pairs of images, one preparing the other

Now that we have studied Baudelaire’s poem carefully, it is possible to examine whether the poet prepared the ground for one image through the use of another, even if only rapidly or semi-consciously. To establish this, we will differentiate two levels within any imaginative text: the gameboard and the bench. The former is the plan of the meaning the creator intended to be seen within the work. The bench occurs when the creator wanted, at least for a brief moment or semi-consciously, to avoid impeding the interpretation that would allow one of two meanings to prepare for the other. The bench can use some of the meaning of the gameboard in order to venture further forward but, like the gameboard itself, it does not contain any illustration that does not have a buffer. As the nature of the bench is difficult to grasp, this leads us to the idea that the author perhaps did not intend all his audience to understand its meaning, but just some of them. We will attempt to measure the degree of plausibility of the bench level judgements we attribute to the author, and we will thus have to be capable of giving a more subtle idea of the text than in the previous paragraphs of this essay since hitherto we were following the principle, pointed out in note 346M, that it is impossible to see the audience as a divided entity.

A burrow can be defined as an imaginative text with a maximum of 100 fronts, limited by a series of ordinary opening and closing signs, that no-one in the audience can ignore because they mark the intention of the creator to deliver some words with a certain unity of meaning, at least in a context of reflection or musings. Two things can constitute a den. First, it is a burrow with a profile of 1. Secondly, it can be a burrow with a profile of only ½, but with the weakness compensated for by its possession of a generally well-known form.

If, in their description of such and such a passage in a den, two gameboard propositions are united with a link making the whole a bench statement, the overall proposition forms a harrow. «Nature is a temple…» is one affirmation in the poem which belongs at the level of the gameboard. In a less literal way “…forests of symbols observe man with familiar eyes” is a roughly faithful description, classifying this also as part of the gameboard. But the coordination of the statements, “"Nature is a temple" prepares the way for "…forests of symbols observe man with familiar eyes"”, thus produces a bench remark.

Whenever, within a harrow, a gameboard proposition is made up of three combined images (T, J, Z), it is called a septum. If two images define a proposition, such as in “noblesse oblige”, we have the possibility, in order to obtain a septum, of employing the artifice ((), Z, J) or (J, Z, ()): ((), oblige, noblesse) or (noblesse, oblige, ()). To delineate within one formula of a septum, the statement of the choice establishing the unity of this proposition, we employ twice the symbol ((.)), named the stud: (T(.)J(.)Z). The pair of signs ((.)…(.)) forms the studding. We will also adopt the notation ((.)exists(.)God), or (God(.)exists(.)), for “God exists” [924].

When a harrow contains two septa, they are expressed (E(.)H(.)F) and (R(.)L(.)S). The ensuing harrow is called a gamba, which we write “(E(.)H(.)F) and the creator wanted, at least for a brief moment or in his musings, to avoid hampering the interpretation by which this prepares for (R(.)L(.)S)”. In order to depict the gamba, we use the collar, with the general symbol ([[][]]), read as “cardboard”. It is a logical link, synthesising the left septum (E(.)H(.)F) and the right (R(.)L(.)S), so that when the gamba is written, ([[][]]) is placed between (E(.)H(.)F) and (R(.)L(.)S). Once this form has been produced, it is emphasized with two signs (\) and (/) marking the opening and closing of the formula: \(E(.)H(.)F[[][]] (R(.)L(.)S)/. Thus noted, the content of the gamba is as follows: “(F(.)H(.)E) and the creator wanted, at least for a brief moment or in his musings, to avoid hampering the interpretation by which this prepares for (R(.)L(.)S))”. To demarcate the sign of the collar, the marks ('''), the buoys, are placed before and after it: \(E)(.)H(.)F)'''[[][]]'''(R(.)L(.)S)/. When the same thing is described in an ordinary style, it is also possible to place the buoys on either side of the collar.

Now we must describe the quantity of plausibility of a gamba: its gauge. As this new method of counting is similar to the way the ells, gradients, arches, manses, channels, acres, grills and modules are counted, with the help of riveting, for very low values, we extend the rivet to the gauge, with the result that levels of plausibility below 1/16 should not be taken into account. As it is also possible, in addition to a one- off gauge, to find the plausibility of a set of gambas, we can extend the use of the rivet to groups such as this, constituted for the same den.

A particular element of knowledge relating to a gamba, even when there is a total lack of buffer, constitutes a sprinkler or a strap. When the item of knowledge relates to the creator, it forms a strap, whereas when it deals with the common attitudes or opinions of the time, it is called a sprinker.

Sometimes, when the exegete studies a den, he may recognize, without any anachronisms, a theme, which we will call a lid. It must be present throughout, so that no-one in the audience could be unaware of it. As many themes are possible, the choice of lid is very wide. We choose here to calculate the plausibility of the gambas from the following lid: “imagination in all the arts is sustained by the influences of all these disciplines”.

When two images in a lid can serve to identify a theme attributable without difficulty to a second text, prior or contemporaneous to the den being analysed, this pair of notions is designated as the protector of each of these two works, as well as of the lid from which it was taken. It is of little importance here if the same thing occurs with more than two works. In any case, the pair or larger group of texts forms a gear.

A den with a lid giving a protector which works well for a gear, is called a lair. Every text in the gear other than the lair constitutes an acolyte for it. This means „Correspondences“ is a lair. Firstly, it is possible for the poem to follow the theme “imagination in all the arts is sustained by the influences of all these disciplines”, which can thus serve as a lid. Next, the protector “"the imagination", "the arts"” can be recognized as the theme of another poem, „the Beacons“, which is therefore an acolyte of „Correspondences“.

As far as the gameboard is concerned, any contact between ideas depends to a great extent on the distance between the images, or on the presence of a connector, but in the case of the meaning of the bench within a den, we regularly assume that the creator was capable of linking together all the content with intensity, without there being any need to verify the distance or any possible connectors in order to justify such an intuition. Firstly the brevity of the den, secondly its clear demarcation and finally the easily imaginable nature of its meaning, which is simply a musing that some link in meaning cannot be excluded, all these things drive home this facility of contact, even when the ideas in question come from different areas within the text. It follows from this that, as regards a gamba, in order to dispense entirely with counting the distance between the images front by front, we merely have to see if they belong to the same den.

To understand a gamba properly, we need to have recourse to the making of some very slight adjustments to the text. The tools used for this transformation constitute the jacket. None of them need necessarily be used, it is just a question of convenience of expression. The three parts of the jacket are called the “terrace”, the “flue” and the “hoof”; and we call the “bar” the absence of modification obtained by using the jacket, as well as any application of it. The hoof is all the conditions of use relating to the changes applied to the work by the flue or terrace. First and foremost, any modification must have been possible at the time the work was published and in the milieu in which the creator lived. Next, critics must not be able to reject the change effected as involving a misinterpretation.

Within the same general septum (T(.)J(.)Z), any of the three ideas T, J or Z can constitute a duct, on the sole condition that they refer at the very least to a front in the text analysed. The duct comes into existence even when within it, through the jacket, some minor transformation concerning for example a front in the text, proves to be a practical way of avoiding any clumsiness in the the description of the meaning, which is of necessity accomplished outside the work in question. In order to identity precisely the ducts mentioned at various points when writing down the septum, they are given different names: the pike is written on the left, the shack in the middle and the wick on the right.

A front in a den, or its possible reworking using the jacket, within a septum, forms a beam. However, the front ceases to be a beam when it is completely removed from the work in question. In a gamba, there must be at least one beam per septum, in order for the interpreter to be sure that he is not imagining a text other than the one he is actually analysing. The consequence of this is that there are at least two beams in any reliable gamba.

It is possible, by means of the flue, the symbol for which (-[]) is called the thumbtack, to adapt any point in a gamba grammatically, if so desired. The details of the device may vary as a result of linguistic variations, but most frequently, for each work in a text there is a way of making it more fitting for commentary, while indicating how it has been changed. In this way, by reorganising a sentence, the substance of which is preserved, all elements such as nature, genre, number, tense or external accompaniment can be adapted.

When we use the thumbtack (-[]), it is written at the end of the septum, and just once for all the changes made. Even if there is a modification in each duct, we must write (T(.)J(.)Z-[]). In (Nature(.)is(.) symbolized by a temple-[]), we use the flue because the word “symbols” is modified in order to give the form “symbolized”.

The first feature of the terrace is the tunnel which is defined by the fact that, to imagine more vividly than usual the situation described in a text, on occasion we allow ourselves to envisage it for a brief moment as if we were dealing solely with objects independent of the creator, but we do this while knowing underneath that, on the contrary, for an imaginative text, only the meaning is crucial, not the objects. Indeed, it is not a question of scientific things for which some objectivity can be proven, using buffers.

A second element of the terrace is the dock, which consists of the addition of some meaning or signs not in the text, but having the aim of making it easier to explain the images in the septrum.

A third facet of the terrace comes into action when we replace one idea by another which is close to it but which is represented by a radically different word. In this way “sacred” could replace «temple», or “from” replace «in» to form “from the distance”. This kind of commentary is called a pinion. With the expression “\''in the temple, man is initiated through forests of symbols'' and the creator wanted, at least for a brief moment, or in his musings, to avoid hampering the interpretation by which this prepares for "There are perfumes…as the flesh of children…as oboes…as meadows, -And others…Like amber, musk, benzoin and incense"/”, we have written “is initiated” instead of “passes”, and thus we have used a pinion. In this, “passes” constitutes a beam, since this front has merely been altered by applying the jacket so it could be presented in the form “is initiated”. We often speak of “successfully passing an initiation test”, so the replacement of one idea by the other may be accompanied by the claim of elucidating Baudelaire’s words. Even if afterwards our thoughts move on, we are reminded for a fleeting moment of Mozart’s ¨The Magic Flute¨.

We will allow ourselves a fourth form of terrace, the banister, which will provide us with further assistance in our commentary and which consists of changing the order of words in a text, taking out some segments, or borrowing an idea from a place within it, whether near to the beams in the gamba in question or not, in order to bring it into much closer contact with the decisive zone for the significance concerned. However, any major distortion of the meaning first present should be avoided when so doing. Using just “…as the night and light…” instead of «…as the night and as the light…» is a secure banister.

The promontory is a fifth form of terrace. Like the others, it is a means of interpreting the beam, but in this case by playing on two different meanings of the same word.

The use of any of the five forms of the terrace, with or without the others, in the same duct, can be shown by the symbol ([]-), called the trigger, which is written in this case at the end of the septum so that it does not interfere with our understanding of the gamba. For example, putting (T(.)J(.)Z[]-), even if the terrace only affects the pike T, is quite clear. When (-[]) and ([]-) are used in the same septum, we may write (-[]-) instead of (-[][]-), as this is more concise but still as explicit.

In a gamba, there are two septa and a collar. Within each septum, two studs, (.) and (.) separate three ideas or ducts which come together to form a single image. Several possibilities arise from this since in each duct we may sometimes find just one pawn, sometimes several. The left-hand stud is called the gem, the right-hand one the cabochon. The pike of the septum (living pillars(.)Let(.)forth confused words) is made up of two pawns: «living» and «pillars». This duct «living pillars» occurs before the gem, while the shack «Let» is written between the studs and before the wick «forth confused words».

A hoe is a gamba that has been made complex through the presence within it of features that are initially difficult to understand. First, we are presented in the gamba with a clarification of the rather nebulous aspiration of the creator to be as disciplined as possible, in spite of the work in question belong to the domaine of imaginative texts. Next, we present in it two different forms within the same overall interpretation: one version involving the tunnel and one not. These two versions are called avatars. The first avatar appears thus: “the creator, at least for a brief moment or in his musings, endeavouring to be consistent with the whole of the commented text, wanted to avoid hampering the idea that the proposition… prepares for the proposition…” The second avatar is as follows: “the creator, at least for a brief moment or in his musings, endeavouring to be consistent with the whole of the commented text, wanted to avoid hampering the idea that the situation described in…causes the one described in…” Both avatars are abbreviated using the symbol (ᵒ…'''prepares for'''…) and the sign (˜*˜…'''causes'''…). On this occasion, (ᵒ) is referred to as a “hatch” and (*) as “crystal”.

A clearance consists of several hoes, gathered together by an exegete in order to construct an interpretation of the text. On the one hand, the creator’s musings appear much too vague to be able to supply him with the finer details of a synthesis of this kind. However, on the other hand, such musings will inevitably have been subject to the common propensity of the human mind to encourage thoughts to assemble, even though this may often be very vague. It is only when the thinker is deeply hostile to certain ideas that he may reject any stray impulse to bring them together. However, such a thing would be surprising, in the case of a long process of elaboration which has been largely effected on purpose and is also rather personal. Establishing the plausibility of a clearance comes down to establishing if the panorama the interpreter has in view, composed of many musings that may have been incited by the den, really has the characteristics of a synthesis. In order to sort out these accumulated mental images initially, we require as a permanent basis for each clearance, the supposition that it has both the same lid and a sole protector.-/

Two questions called “rogations” allow us to test the depth of the link between the hoe and the clearance. The first, the stunt, relates to a beam in the first septum, while the second, the request, refers to a beam in the septum on the right. The stunt occurs without the tunnel while the request uses it. The answer to each of these questions is also different. The reply to the stunt is based on the lid, while in the case of the request, the protector is involved.

The stunt includes, essentially, the words: “how can we attain the lid…starting from the idea represented by the beam…?” It is sometimes necessary, to make this question clear, to slightly alter the beam, or even to add a clarification of the meaning it expresses, by using the jacket. The initial idea, or that obtained by the slight transformation, is called the trapeze. It can be noted as (.\.), which is read as “cane”. Thus, the substance of the stunt is: “how can we attain the lid…starting from the trapeze…?” The reply to the stunt also is sometimes given with help from the jacket. It starts “the thing is that…” and ends by giving the lid, either exactly or nearly so regarding the form, but exactly as far as the substance is concerned.

The request concerns the contribution of one object to another. The form of the question uses the tunnel and so mentions the two objects, the meaning of which is indicated by an ellipsis: “how to summarize, according to the context, all that…receives from…?” A first beam has a meaning called the lure, and its object is the beneficiary of the relationship. The lure is not always used in the hoe. What is more, when we do find one there, it is only in one septum or the other, and it may be that its beam is fashioned using the jacket. The lure may be indicated by the symbol (<>), called the whistle. The last suspension points accommodate the festoon, which is the meaning the object of which is the thing from which the object of the lure benefits. A beam expresses the festoon within the right septum, but at times employing means of presentation provided by the jacket. Sometimes it is practical to use [.], the symbol of the festoon, read as “puck”, at one point in the second septum. We will complete the description of the request by this declaration using the tunnel: the object of the lure receives something from that of the festoon. Let us now move on to the response, which refers largely to the protector, uses the tunnel and is shown using the words “everything comes down to something like…” Regarding the details of the request, we often have a wide choice of ideas at out disposal, the main thing being that it should make clear the role assumed by the protector.

We can imagine, for each hoe, two intuitive patterns the function of which is to go further into some important aspect which is thus easy to recognize. These patterns are called the andiron and the casing and together they form the wedges. Even though a thousand ways of approaching the hoe are possible, we will limit ourselves to two, one of each sort, since we must not hamper our thinking but rather assist it, through some intuitive application, to grasp the meaning. The andiron is simply a commentary on the supposed point of view of the creator, at least for a fleeting moment of thought or in his musings, when he envisages a meaning within his text, without a tunnel, which gives the impression of preparing for another. For \(ᵒdes symboles(.)correspondent(.)se-[]-ꞌꞌꞌprepares forꞌꞌꞌles parfums, les couleurs et les sons(.)répondent(.) se-[]-)/ (×(ᵒsymbols(.)correspond(.)each other'''prepares for'''Perfumes, colours and sounds(.)answer(.)each other)), we have the following andiron: “the creator could not but have envisaged, at least fleetingly or in his musings, that the representation of an identical form, within the domains of the five senses, will give the feeling of preparing the notion that sensitive beings, or the impressions they give rise to within us, use the same series of equally possible moral characteristics”. The congregation of the all the andirons for the hoes of the same clearance constitute the bundle. On the other hand, the casing consists of a very short intuitive outline of the hoe with a tunnel. When all the casings for the hoes of one clearance are gathered together, a mill is formed. As an example, using the avatar given just now, \(ᵒ des symboles(.)correspondent(.)se-[]-ꞌꞌꞌ prepares forꞌꞌꞌles parfums, les couleurs et les sons(.)répondent(.)se-[]-)/ (×(ᵒsymbols(.)correspond(.)each other'''prepares for'''Perfumes, colours and sounds(.)answer(.)each other)), we have a casing “the correspondence of the symbols causes the various responses of the perfumes, colours and sounds”.

The pulley of any concrete avatar of a hoe is a set of fourteen determinations, each given in a single copy: text, remainder of the gear, the whole bar, clearance, lid, protector, bundle, mill, stunt, request, festoon, lure, trapeze, with lastly, the object of choice of the collar ([[][]]), “prepares for” or “causes”. The avatar so determined is thus closely connected to its pulley, since the latter defines many aspects of it. Such a concrete avatar, in which we have recognized the pulley, is noted using the sign at the end (¨), pronounced “lintel”, and called a flap. A nursery is that which is left in a clearance when we keep only one flap per hoe.

Two flaps from the same nursery are commensal. In a similar way, each andiron forms a conscript for the other andirons in the same bundle, and each casing in the same mill is a colleague of the other casings. Il is necessary, to check if a nursery is reliable, to ensure that the commensals are mutually compatible. Furthermore, regarding the flaps of the same nursery, there must be no opposition between conscripts or between colleagues, for this same reason that the defect concerned would threaten the whole.

We have recourse to an artifice, in order to arrive at the three fronts that give the trapeze, the festoon and the lure, in spite of the possibility of applying the jacket, this artifice being the elastic. By formulating it we obtain the beams responsible for these three ideas, plus the symbol for each: (…(.\.);…[.]; …<>). For each flap, the trapeze, festoon and lure form its “ropes”. Any elastic is thus limited to recalling the beams concerning the three ropes, which the use of the jacket could have caused to be forgotten.

The pylon, for a nursery obtained by a flap, is the whole set of pairs made up of septa; commensals; conscripts; colleagues; units consisting of a stunt with the reply to it; units consisting of a request with the reply to it. In the description of a pair of this type, it is only a mistake to allow a repetition or a lack of consistency if it does not reflect the existing content of the text under consideration. Finally, we call a “housing” any area in a text comprising anything approaching a repetition or contradiction.

Apart from anything related to any housings there may be in a text, it sometimes happens that within the nursery of a flap, the exegete experiences some awkwardness, which we will describe as shadiness. When this occurs, we must suppose that some unease is felt by the creator in the face of his text. This impression arises from the remains of his sense of logic when he is thinking rapidly or musing. All cases of shadiness come from elements of the pylon. Consequently, it is a question of the relations between two septa; commensals; conscripts; colleagues; “stunt-reply” units; “request-reply” units. The first case concerns a complete repetition, both as regards the form and the substance. The other case occurs when something like a lack of consistency is felt. In both cases, it is only one of the relevant flaps which suffers from the shadiness, which is always unique wherever it arises. As a result of this, it is impossible to count the same defect twice, and we only assign the awkwardness to the flap in which the trapeze comes in second place in the text.

The gauge measures the plausibility of the proposition “the image of the flap…passed through the creator’s mind”. We call “boreholes” the numerical criteria a•, b•, c•, d•, e•, f•, g•, h•, j•, k•, m•, p•, w• which allow such calculations. The gauge consists of the inverse of the mathematical product: 1/a•b•c•d•e•f•g• h•j•k•m•p•w•. The thirteen boreholes each have a name, and the letter distinguishing them a, b, c, d, e, f, g, h, j, k, m, p, w is followed by a symbol (•), called a “lentil”. To be more specific, we have given them names: (a •) bight, (b•) mallet, (c•) basket, (d•) hook, (e•) hub, (f•) nick, (g•) pendant, (h•) stool, (j•) rod, (k•) trimmer, (m•) viaduct, (p•) gibbet and finally (w•) swell.

The mallet (b•) equals 1 when in the text being analysed, all the beams of the second septum follow those used in the first. Since the notion of foundation or basis is the essence of the collar, it is right to respect what this implies. In principle, something which prepares precedes something based on it, or that which causes precedes that which is caused, and thus there must be a sort of precedence for the images E, H and F as regards R, L and S. Conversely, an implausibility value of b •=2 is written whenever a beam from the second septum precedes one from the first within the text. If the same thing occurs several times, we keep the same value of 2, and thus b•=2 for the flap \(ᵒ des forêts de symboles(.)observent(.)avec des regards familiers l'homme-[]-ꞌꞌꞌprepares forꞌꞌꞌde vivants piliers(.)laissent(.)parfois sortir de confuses paroles- [])/¨ (×(ᵒforests of symbols(.)observe(.)with familiar eyes man'''prepares for'''living pillars(.)let(.)forth at times confused words)). The fact that the words «living», «pillars», «Let», «forth», «times», «confused» and «words» come in the poem before «forests», «symbols», «observe», «with», «familiar», «eyes», «man», does little to promote the idea that an image of the kind painted by “…forest of symbols observe man with the familiar eyes…” can introduce “…living pillars let forth at times confused words…”

The basket (c•) equals 1 if there is no suspicion that the text analysed has suffered any accident or falsification as far as anything important for the flap in question is concerned. In fact, in the case of any such modification, the meaning of the septa could be totally different from that which the creator desired. If this does occur, we have to count the value of implausibility as c•=2. Since the flap describes the creator’s musings or rapidly conceived thoughts, the danger, for measuring the plausibility, lies in the interpreter musing about the supposed musings of the author, thus depriving him of some of his objectivity when analysing the text. The basket (c•) enables us to monitor this point, just as the combe (å), when we measure the plausiblility of a rep, gives us the means of taking into account the possibility that the interpreter, with his thirst for strangeness arising from his investigations, may imagine as a significant intrusion the simple result of an accident in the history of the text.

The value for the hook (d•) is 2 when a highly rational usage is present in the part of the text which provides the beams for the flap. We must nevertheless disregard any feats of artistic composition, for example, if we are studying a poem, the reasoning behind the versification. When calculating the plausibility, as this concerns only imaginative texts, a figure of d •=2 for the level of implausibility must be counted in recognition of the mistaken application of this method to works of extreme rationality. In all other cases, (d•) equals 1.

The hub (e•) equals 1 when the flap meets a series of four conditions. First, the construction of the flap must not include any anachronism or clumsiness. Furthermore, it is not permitted to substitute anything else for any beam, or to provide an interpretation which would give a new meaning to the gameboard. In all cases, it is necessary to guarantee that the creator could have understood the meaning of the individual beams and the preparation of one septum by the other, which can be supposed to have taken place. If any of these requirements are not met, we can write e •=2.

The pendant (g•) concerns the collar, the role of which is to consider the septa together and thus on the level of the bench. To obtain g•=1, three requirements must be met. The first is that the text, taken with the meaning of the gameboard, does not immediately justify the idea that one septum prepares for the other. In fact, the collar symbolizes the musings leading to the notion of “preparation”, beyond those things that are clearly indicated by the gameboard, in accordance with the unambiguous will of the creator. Conversely, as soon as the latter has made known any “preparation” within the gameboard, the frame necessary for the collar cannot be obtained and so it loses its justification, giving g•=2 for the whole of the flap. The second condition that must be met, in order to obtain g•=1, is the absence of any rejection by the creator of the idea that what we call here the first septum introduces the other one. It would be inconsistent to have a flap that was contrary to the creator’s thinking since it must clarify certain ideas that the author does not reject, at least at the level of fleeting thoughts or musings. Finally, to achieve g•=1, the third requirement is that the affirmation that the first septum confers some “preparation” for the second can in no way be rejected by the critics. It follows from these rules that, as soon as one of these three conditions is not met by the flap, we note a value of implausibility g•=2. There is even more reason to do the same when the weakness is more marked.

The eighth borehole is the stool (h•) and this criterion concerns shadiness. Writing h•=1 means no shadiness has occurred as regards the flap in question. On the contrary, h•=2 must be written whenever any shadiness impairs this flap.

The rod is j•=1 when several conditions are met. First, all the beams of the flap must belong to the same den, and one which has a well-formulated lid. Next, it must be sure that the flap is never in opposition to any door or poise. If one of these conditions, at least, is not met, we must concede a value of j•=2.

The trimmer (k•) is equal to 2 whenever the rod is the same, i.e. j•=2. Conversely, when j•=1, meaning there is a den with a lid, we are putting the ability of the text to provide a lair to the test. We must find a minimum of one acolyte of the text being analysed to justify the status of the den as a lair. If one is found, we can write k•=1, if not k•=2.-/

As far as the eleventh borehole (m•) or the viaduct is concerned, we find m •=2 if the rod is equal to 2. Conversely, if the rod is 1, the viaduct is also 1 when it is easy to define both the relationship “stunt-trapeze” and that of “request-festoon-lure”. Whenever a major obstacle arises concerning the trapeze, the festoon or the lure, the implausibility can be written as m •=2, and when an impairment to the three ropes occurs simultaneously, m•=2 is also necessary. We might have made a mistake, clumsily imagining the stunt or the request, but also misunderstanding the text.

The gibbet (p•) is equal to 2 if the rod is not 1. If the rod equals 1, then the gibbet is 1 as long as the andiron gives depth to the flap. If the andiron cannot be thought of as a refined interpretation of the flap, we have to take it that p•=2.

The degree of plausibility of a nursery forms its tonnage. It is the plausibility of the proposition: “the creator was keen, at least fleetingly or in his musings, to conceive as a whole the flaps of the nursery without harming the coherence of the thoughts he has about the text ”. For all the flaps which are elements of the nursery, the tonnage comes from the gauges, which are each of the type (1/a•b•c•d•e•f•g•h•j•k•m•p•w•), and it is the numerical product of all these values. Thus, for two flaps, its value is ((1/a •b•c•d•e•f•g•h•j•k•m•p•w•) (1/a•’b•’c•’d•’e•’f•’g•’h•’j•’k•’m•’p•’w•’)).

Before forming a nursery, we will indicate some weaknesses from which such groups of interpretations may suffer. Let us look first at the flap \(ᵒdes images(.)combinent(.)leurs effets[]-ꞌꞌꞌprepares forꞌꞌꞌ les parfums¹, les couleurs et les sons(.)répondent(.)se-[]-)/¨ (×(ᵒimages(.)combine(.)their effects '''prepares for'''Perfumes, colours and sounds(.)answer(.)each other)). Since the first septum, “some images combine their effects”, has not got any beams, we may conclude that the bight ( a•) equals 2, and thus the whole gauge cannot exceed ½.

Now we will suppose that, in several thousand years’ time, Baudelaire’s sonnet is tampered with in some way that is imperceptible to many scholars in this future period. The following text would be known by nearly all: “Analogies//The world is a museum in which great scholars…” with the rest of the lines of the poem unaltered from the original. This will bring to mind the flap \(˜*˜dans le musée l'homme(.)passe(.) victorieusement son initiation à travers des forêts de symboles-[]-ꞌꞌꞌcausesꞌꞌꞌil(.)est(.)des parfums…comme des chairs d'enfants…les hautbois…les prairies, -et d'autres…comme l'ambre, le musc, le benjoin et l'encens-[]-)/¨ (×(˜*˜in the museum man(.)passes(.)with flying colours his initiation, through forests of symbols'''causes'''there(.)are(.)perfumes…as the flesh of children…oboes…meadows, -and others…like amber, musk, benzoin and incense)).Referring to an original volume of the collection "the Flowers of evil", unearthed with great difficulty during some archaeological excavations, a scholar would be able to cast doubt on the commonly held interpretations, and the result would be, for the flap imagined with respect to this rail, a basket c•=2.

Let us suppose that a poet describes the correspondence between the contraction of the pupil and the force of rays of light, by putting into verse part of a text that Descartes wrote on this subject [271]: “Le changement dans la grandeur de la prunelle/Modère à propos la force de la vision/Car l'ouverture de l'œil prend moins de rayons/Quand tous offenseraient du nerf une parcelle,/Et la mécanique apaise souvent nos sens/Par suppression du péril qui se fait sentir.” (Changes in the size of the pupil/Moderate appropriately the strength of perception/As the opening of the eye takes in fewer rays/When they would all injure part of the nerve,/And mechanics often appease our senses/By suppressing the danger that is apparent.) Let us write a flap: \(ᵒle changement dans la grandeur de la prunelle(.)modère(.)la force de la vision-[]-ꞌꞌꞌprepares forꞌꞌꞌla mécanique(.)apaise(.)souvent nos sens)/¨ (×(ᵒchanges in the size of the pupil(.)moderate(.)the strength of perceptionꞌꞌꞌprepares forꞌꞌꞌmechanics often(.)appease(.)our senses)). Although the significance of the flap combines science and metaphysics, the argument reveals that it is strongly based on a sophisticated level of knowledge, which justifies a hook of d •=2.

Let us see what happens when we put “desires” in place of «words» in a flap, for example in: \(˜*˜désirs(.)sortent(.)confus-[]-ꞌꞌꞌcausesꞌꞌꞌéchos(.)confondent(.)se[]-)/¨ (×(˜*˜desires(.)come(.)forth confused '''causes'''echoes(.)mingle(.)). The substitution results in moving away from the gameboard since it is necessary to considerably revamp the original meaning of the passage from which the beams of the flap, «forth», «confused», «echoes» and «mingle» were taken. We must therefore rate the hub e•=2.

Let \(ᵒla nature(.)est(.)l'opposé d'un temple-[]-ꞌꞌꞌprepares forꞌꞌꞌl'encens(.)est(.)corrompu-[]-)/¨ (×(ᵒNature(.)is(.)the opposite of a temple'''prepares for'''incense(.)is(.)corrupt)). This flap supposes that we reverse the meaning of the first proposition of the poem, using as a guide the declaration regarding incense made afterwards, in lines 11 and 13. We can imagine that «Nature is a temple…» can be treated as an antiphrasis, with the underlying meaning “Nature is the opposite of a temple…” A few moments later, the reader who has done this would judge that he was right to do so, when he comes across the statement regarding the incense. Given this interpretation, the beam «is», from «Nature is a temple…» is complemented with the dock “the opposite of”, which obviously contravenes a link in the meaning of the gameboard, thus justifying the nick f•=2.

Let \(ᵒcomme de longs échos qui de loin(.)confondent(.)se-[]-ꞌꞌꞌprepares forꞌꞌꞌles parfums¹, les couleurs et les sons(.)répondent(.)se-[]-)/¨ (×(ᵒlike long echoes which(.)mingle(.)in the distance'''prepares for'''Perfumes, colours and sounds(.)answer(.)each other)). It is evident that in the gameboard, or explicit meaning, Baudelaire has prepared something we call here the second septum, by means of the one preceding it. For this reason, we can express the pendant as g•=2 since instead of introducing a thought of the bench, the flap returns to that of the gameboard when the septa are synthesized. As Baudelaire himself prepared one idea by another, any idea of affecting to leave the gameboard by linking up the two expressions is out of the question.

At the level of a single nursery, the shadiness arises when there is an exact repetition or a lack of harmonisation between two septa, commensals, conscripts, colleagues, “stunt-reply” units, “request-reply” units, when there is no housing for the passage from which the beams of the flaps have been taken. Let us take the Either a first flap \(ᵒla nature(.)correspond(.)au temple-[]-ꞌꞌꞌprepares forꞌꞌꞌl'homme, l'artiste, (.)est(.) observé, surveillé, conseillé par des regards, de sa propre famille de pensée, occupés de symboles-[]-)/¨ (×(ᵒNature(.)corresponds(.)to the temple'''prepares for'''man, the artist, (.)is(.) observed, monitored, advised by looks, of his own family of thought, occupied with symbols)). Here is another from the same nursery: \(ᵒde confuses paroles(.)sortent(.)du temple-[]-ꞌꞌꞌprépareꞌꞌꞌl'encens(.)est(.)corrompu-[]-)/¨ (×(ᵒconfused words (.)come(.)from the temple'''prepares for'''incense(.)is(.)corrupt)). The septa (Nature(.)corresponds(.)to the temple) and (incense(.)is(.)corrupt) appear very largely incompatible, making us think that one of the flaps is suffering from shadiness, with the result that the stool would need to be h•=2. But this is not the case, fundamentally, and we must write h•=1 because in reality no flap is suffering from shadiness. Indeed, it is a case of a housing, since the creator himself slipped a sort of enigma into the poem, taking two affirmations in a relationship that is difficult to understand: one relating to the existence of the "temple-Nature" and the other concerning the corruption of incense.

Still regarding the text of „Correspondences“, let us write the flap \(ᵒmon esprit tu(.)meus(.)te-[]- ꞌꞌꞌprepares forꞌꞌꞌles parfums, les couleurs et les sons(.)répondent(.)se-[]-)/¨ (×(ᵒmy spirit, you(.)move(.) yourself'''prepares for'''Perfumes, colours and sounds(.)answer(.)each other)). We can then envisage that exercising our imagination considerably may give a quantity of synaesthesias. This appears conceivable but the first septum comes from the poem „Elevation“ and refers precisely to the fifth line, which is also the first line of the second quatrain [[1032]] in Index II (Poems)">[[1032]]: «…My spirit, you move with agility…» Under these conditions, there can be no single and unique burrow since in both poems, „Elevation“ and „Correspondences“, the wording is delineated with markers, but which, and this is the important point, are not the same. As a single, complete den must be a whole, unique burrow, the pieces present here do not together belong to any den. The result of this is necessarily a rod (j•) of 2. According to their definition, the last four boreholes, (k•), (m•), (p•), (w•), trimmer, viaduct, gibbet and swell, reach the level of 2, as soon as the rod itself has a value of 2. Thus, with j•=2, we obtain ((2)(2)(2)(2)(2))=32 for the product (j •k•m•p•w•) and its inverse has to be 1/32, a value below the threshold 1/16 of the rivet, which has already been described in paragraph 566. Therefore, we already know that with the rod (j •) taking this value of 2, the gauge will be negligible for the flap under consideration: \(ᵒ mon esprit tu(.)meus(.)te-[]-ꞌꞌꞌprepares forꞌꞌꞌles parfums, les couleurs et les sons(.)répondent(.)se-[]-)/¨ (×(ᵒmy spirit, you(.)move(.)yourselfꞌꞌꞌprepares forꞌꞌꞌPerfumes, colours and sounds(.)answer(.)each other)).

Let \(ᵒ des paroles(.)sortent(.)confuses-[]-ꞌꞌꞌprepares forꞌꞌꞌéchos(.)confondent(.)se[]-)/¨ (×(ᵒwords(.) come(.)forth confused'''prepares for'''echoes(.)mingle(.))). The rod (j•) has the value of 1 and the flap seems just as perfect, on the intuitive level, but we can deliberately upset it by means of the entirely fictitious supposition according to which Baudelaire only placed „Correspondences“ in the anthology "the Flowers of evil" as a text on the theme of inspiration given to him from arts other than his own. It is then impossible to form a gear for the protector “"the imagination", "the arts"”, and so the sonnet we are concerned with no longer appears to be a lair. It follows from this point that the trimmer has to be k•=2 for the above-mentioned flap in the imaginary circumstances just described.

Let us consider \(ᵒla nature(.)est(.)pleine de vivants.\.-[]-ꞌꞌꞌprepares forꞌꞌꞌl'homme<>(.)passe(.)à travers des forêts[.]-[]-)/¨ (×(ᵒNature(.)is(.)full of living things.\.'''prepares for'''man<>(.)passes(.)through forests[.])), giving us this stunt: “how can we attain the statement “imagination in all the arts is sustained by the influences of all these disciplines”, starting from "living (things)"?” The meaning of the flap could concern human survival in the plant world, while the stunt shows the universe of the arts and the imagination, with therefore a contrast which presents a problem to the exegete. A difficulty arises, and to reflect this, we write the viaduct as m•=2. The request will be: “how to summarize, according to the context, all that "man" receives from the "forests"?” The reply that is needed is not “his means of subsistence”, but rather “everything comes down to something like ‘’"the imagination", "the arts"‘’, since the intellect and the senses turn to active musings which produce, over time, the arts, starting from an intense relationship with certain areas of reality.” Once again here the interpreter has the impression that the expectations which motivate his research do not fit in well with the flap.

It is interesting to compare the flap and the andiron. First we will examine on its own the flap \(˜*˜des paroles(.)sortent(.)confuses-[]-ꞌꞌꞌcausesꞌꞌꞌenfants(.)confondent(.)se[]-)/¨ (×(˜*˜words(.)come(.)forth confused'''causes'''children(.)mingle(.)together)).Then we will turn to the andiron “the creator wanted, at least fleetingly or in his musings, the image of confused words to provide the feelings of introducing the notion of intermingled children’s voices”. We know that this interpretation is not correct because, in the second septum, the theme of children has been combined with that of confusion, without any basis in the gameboard, leading us to the gibbet p •=2.

Let us see which swell would suit the flap \(˜*˜les parfums¹, les couleurs et les sons(.)répondent(.).\. se-[]-ꞌꞌꞌcausesꞌꞌꞌchoses infinies(.)ont(.)expansion[.]-[]-)/¨ (×(˜*˜Perfumes, colours and sounds(.)answer(.)./. each other'''causes'''infinite things(.)have(.)expansion[.])) accompanied by the casing “the infinite, with its unceasing and vigorous development, causes the fact that perfumes, colours and sounds answer each other”. A swell w•=2 can immediately be written because the course of the casing reverses the logical course of the swell by putting the image of the infinite at the start. It would be sufficient to follow the thinking of the flap more closely, in the same casing, to obtain w•=1, for the benefit of this flap.

In the next paragraphs we will attempt to establish a nursery that can serve as an example. The aim is not to include in it the best or the most easily defendable flaps, since many groups of flaps could no doubt, regarding fitness and strength, vie with the series we have chosen to put forward. Our aim is rather to obtain from among the many equally possible perspectives, a meaning of particular interest, deserving a strong tonnage thanks to the boreholes, and covering wide areas within „Correspondences“. We will use here the trapezes «Correspondences», «Nature», «temple», «pillars», «distance», «Vast» and «answer». The flaps in question, in the form of the first avatar, are as follows: 1°) \(ᵒla nature(.)correspond(.).\.à un temple-[]-ꞌꞌꞌprepares forꞌꞌꞌl'homme<>, le nouvel artiste, prêtre du beau, (.)est(.)observé, surveillé, conseillé par des regards, venus de sa propre famille[.]de pensée, occupés de symboles-[]-)/¨ (×(ᵒNature(.) corresponds(.).\.to a temple'''prepares for'''man<>, the new artist, priest of beauty, (.)is(.)observed, monitored, advised by looks, coming from his own family[.]of thought, occupied with symbols)); 2°) \(ᵒ la nature.\.(.)est(.)un temple-[]ꞌꞌꞌprepares forꞌꞌꞌl'encens(.) chante(.)les transports[.]de l'esprit et des sens-[])/¨ (×(ᵒNature.\.(.)is(.)a temple'''prepares for'''the incense(.)sings(.)of the transports[.]of the mind and the senses)); 3°) \(ᵒdans le temple.\., l'homme<>, le nouvel artiste, prêtre du beau, (.)est(.)initié aux arts en passant à travers des forêts de symboles-[]-ꞌꞌꞌprepares forꞌꞌꞌil(.)est(.) maintenant, pour lui, un usage plus facile des nuances du sensible pouvant l'inspirer, car il éprouve sans mal, notamment, les gradations des parfums²[.]trouvés au long de son itinéraire, sachant reconnaître ceux comme des chairs d'enfants… comme les hautbois…comme les prairies, ainsi que d'autres comptant parmi eux l'ambre, le musc, le benjoin et l'encens-[]-)/¨ (×(ᵒin the temple.\., man<>, the new artist, priest of beauty, (.)is(.)initiated into the arts by passing through forests of symbols'''prepares for'''there(.)is(.)now, for him, an easier usage of the nuances of sensitivity capable of inspiring him, since he experiences with ease, in particular, the gradations of perfumes[.]found along his route, able to recognize them like the flesh of children…like oboes…like meadows; and the others, counting among them amber, musk, benzoin and incense)); 4°) \(ᵒ de vivants piliers.\.de l'art, esthètes reconnus, (.)laissent(.)parfois sortir de confuses paroles inspiratrices-[]-ꞌꞌꞌprepares forꞌꞌꞌl'homme<>, le nouvel artiste, prêtre du beau, (.)passe(.)haut la main son initiation, à travers des forêts[.]de symboles-[]-)/¨ (×(ᵒliving pillars.\.of art, recognized aesthetes, (.)let (.)forth at times confused inspiring words'''prepares for'''man<>, the new artist, priest of beauty, (.)passes (.)with flying colours his initiation, through forests[.]of symbols)); 5°) \(ᵒde longs échos entendus au loin.\.(.)confondent(.)se[]- ꞌꞌꞌprepares forꞌꞌꞌune ténébreuse et profonde unité[.] comme la nuit et…la clarté(.)est(.)à ce point vaste que le clair-obscur l'emporte-[]-)/¨ (×(ᵒlong echoes heard in the distance.\.(.)mingle(.)together'''prepares for'''a dark and profound unity[.], like the night and the light(.)is (.)so vast that the chiaroscuro takes over)); 6°) \(ᵒde par leur essence incompréhensiblement vaste.\.…nuit et…clarté(.)unissent(.)s'-[]-ꞌꞌꞌprepares forꞌꞌꞌdes parfums²… corrompus[.], riches et triomphants, ayant l'expansion des choses infinies…(.)transportent(.)… l'esprit et les sens)) (×(ᵒby their essence incomprehensibly vast.\.…night and…light(.)unite(.)together '''prepares for'''corrupt[.]perfumes, rich and triumphant, having the expansion of infinite things… (.)transport(.)…the mind and the senses)); 7°) \(ᵒ les parfums¹[.], les couleurs et les sons(.)répondent(.).\.se- []-ꞌꞌꞌprepares forꞌꞌꞌil(.)est(.)des parfums² frais…doux…verts…et d'autres, corrompus, riches et triomphants- []-)/¨ (×(ᵒPerfumes[.], colours and sounds (.)answer(.).\.each other'''prepares for'''there(.)are(.)perfumes… cool…sweet…green…and others, corrupt, rich and triumphant)). We can perceive no shadiness arising from this nursery.

The andirons, relating to the seven flaps we have just defined, can be written thus: 1°) “the creator cannot but have envisaged, at least fleetingly or in his musings, that the image of physical Nature united with that of a temple, by mutual correspondence, would convey the feeling of preparing the notion that man, new artist, priest of beauty, was observed, monitored, advised by looks, coming from his own family of thought, occupied with symbols”; 2°) “the creator cannot but have envisaged, at least fleetingly or in his musings that the image of physical Nature, united with that of a temple, would convey the feeling of preparing the impression that things which appear merely material, such as incense, provide a basis for the intense expression of the whole being, spiritual and physical”; 3°) “the creator cannot but have envisaged, at least fleetingly or in his musings, that the image of man passing through forests of symbols would convey the feeling of preparing the image of the aesthete who manages to find his direction in the material profusion of children’s flesh, oboes, meadows, amber, musk, benzoin and incense”; 4°) “the creator cannot but have envisaged, at least fleetingly or in his musings, that the image of the living pillars of art, recognized aesthetes, who let forth at times confused words, would convey the feeling of preparing for the notion of the man, the new artist, priest of beauty, who sees in his own imagination, this legacy useful to him”; 5°) “the creator cannot but have envisaged at least fleetingly or in his musings, that the image of the long echoes of beauty, heard in the distance, and mingling together, would give the impression of preparing this thought that good and evil are vast to such an extent, in the dark and profound unity of the world, that the two adjoin each other”; 6°) “the creator cannot but have envisaged at least fleetingly or in his musings, that the representation of the incomprehensible immensity of the world around us, good and evil in particular, would convey the feeling of preparing the thought that corruption is a source of intoxication”; 7°) “the creator envisaged, at least fleetingly or in his musings, that the image with the same form within the domains of the five senses, would convey the feeling of preparing for the notion that for beings of sensitivity, or the impressions they give rise to within us, the same series of moral characters are equally possible”. We can see that it would be a challenge to look for shadiness in these andirons, even if they interpret the meaning of the gameboard more than the flaps do.

Let us examine the mill of the nursery we have just described, in general terms, in order to see if a minimum of two of the casings show any shadiness. We can list them as follows: 1°) “both together, Nature and temple, corresponding with each other, cause the observation of the man, the priest of beauty, by people with minds close to his, and occupied with symbols”; 2°) “physical Nature, having the essence of a construction attributed to the mind, causes the fact that a material product lifts up in an intense manner towards the whole of reality, both spiritual and physical”; 3°) “the initiation of the new artist causes him to grasp the abundant diversity of sensitivity, which he sees as going in successive stages from the tender or childlike level to the intensity of adulthood”, 4°) “the heritage of the pillars of art cause, in the acts of the new artist, the use of symbols drafted beforehand”; 5°) “the many echoes mixed with beauty, in their remoteness, length and plurality, cause confusion in a dark and profound unity, vast as good and evil juxtaposed”; and finally, 7°) “the correspondence between perfumes, colours and sounds causes the resemblance of their moral possibilities”. Anyone can see how pointless it is to look for shadiness in the whole unit formed by these various expressions.

The first flap, the gauge of which remains to be established, is written \(ᵒla nature(.)correspond(.).\.à un temple-[]-ꞌꞌꞌprepares forꞌꞌꞌl'homme<>, le nouvel artiste, prêtre du beau, (.)est(.)observé, surveillé, conseillé par des regards, venus de sa propre famille[.]de pensée, occupés de symboles-[]-)/¨ (×(ᵒNature(.) corresponds(.).\.to a temple'''prepares for'''man<>, the new artist, priest of beauty, (.)is(.)observed, monitored, advised by looks, coming from his own family[.]of thought, occupied with symbols)). The elastic is as follows: (Correspondences.\.;familiar[.]man<>). The stunt appears as: “how can we attain the lid "imagination in all the arts is sustained by the influences of all these disciplines", starting from the trapeze "Correspondences"?” We obtain this answer: “as the arts are linked by correspondences, each of them receives a contribution from the others.” At the same time as this, we can allow the request: “how to summarize, according to the context, all that man receives from the familiar looks?” The reply comes immediately: “everything comes down to something like ‘’"the imagination", "the arts"‘’, since the intellect and the senses turn to active musings which produce, over time, the arts, starting from an intense relationship with certain areas of reality.” The first wedge, the andiron, is described in these words seen not so long ago: “the creator cannot but have envisaged, at least fleetingly or in his musings, that the image of physical Nature united with that of a temple, by mutual correspondence, would convey the feeling of preparing for the notion that the man, new artist, priest of beauty, was observed, monitored, advised by the looks, coming from his own family of thought, occupied with symbols”. This is an interpretation of «Correspondences

Nature is a temple…» linked to «…There man passes through forests of symbols
Which observe him with familiar eyes.» If there is a temple, it is possible to think of a priest. Where can he be found? In the man who is interested in a certain symbolism. The second wedge, the casing, is written: “both together, Nature and temple, corresponding with each other, cause the observation of the man, priest of beauty, by people, with similar minds to his, and occupied with symbols”. This indeed constitutes a possible way of understanding the first lines.

Let us look at the gauge of 1 of \(ᵒla nature(.)correspond(.).\.à un temple-[]-ꞌꞌꞌprepares forꞌꞌꞌ l'homme<>, le nouvel artiste, prêtre du beau, (.)est(.)observé, surveillé, conseillé par des regards, venus de sa propre famille[.]de pensée, occupés de symboles-[]-)/¨ (×(ᵒNature(.) corresponds(.).\.to a temple'''prepares for'''man<>, the new artist, priest of beauty, (.)is(.)observed, monitored, advised by looks, coming from his own family[.]of thought, occupied with symbols)).The bight is a•=1 for two reasons. The first is its septa, “Nature corresponds to a temple” and “man, the new artist, priest of beauty, is observed, monitored, advised by looks, coming from his own family of thought, occupied with symbols”: each display at least one beam. Then, none of the beams used in these septa are repeated. The mallet (b •) is also worth 1, since «man», «observe», «eyes», «familiar», «symbols» are placed in the text after «Nature», «Correspondences» and «temple». For the order of the fronts within each of the septa but not for them as a whole, it is of no importance when it is a question of finding this value of 1 for the mallet. There can be no doubt that the basket c•=1 since no falsification of the work is noted, as far as the determination of the meaning of the beams is concerned. Leaving aside his methods of versification, the concept of being highly rational is alien in Baudelaire’s verses, and so we can feel sure that the hook is d •=1. Throughout its enunciation, the flap is easily accessible and no awkwardness or anachronisms appears present, giving the value of e•=1 to the hub. It is true that any aesthete needs an education, whatever natural talents he may bring into play. Moreover, each modification of the beams, by means of the jacket, is useful in our understanding of the text, as one meaning of the gameboard is never replaced with anything else. The nick f•=1 is indispensable because the flap avoids illustrating any point and interprets the relations between the images taken from the work without making up a fictitious text in order to do so. On the one hand, «Correspondences

Nature is a temple…» becomes (Nature(.)corresponds(.).\.to a temple), and moreover «…There man passes through forests of symbols
Which observe him with familiar eyes» becomes (man<>, the new artist, priest of beauty, (.)is(.)observed, monitored, advised by looks, coming from his own family[.]of thought, occupied with symbols). In this case, the pendant g •=1 can be noted with no difficulty, since the work, in the sense of its gameboard, confines itself to juxtaposing two statements, remaining silent concerning the basis of the second on the first. Furthermore, the critics have no immediate means of denying that the content of the first septum prepares for that of the second. The stool h •=1 is noted without much surprise, thanks to paragraphs 623, 624 and 625 which showed that for the nursery being analysed, no shadiness is produced. Let us turn our attention now to (j •), the rod. The flap does not prevent any use of the doors or poises: for «Nature is a temple», “divine-like edifice”; for «living pillars», “animated as if by divine will”; for the pillars able to speak, the symbols looking at man, as well as for the perfumes, colours and sounds answering each other, “giving the impression of thought as if by divine will”; and regarding the “corrupt incense”, the phrase “which seems active simultaneously for good and evil”. Moreover, the beams come from the same text, which has a profile of ½ and is a sonnet. What can we say of the lid? It turns out to be easily picked out: “imagination in all the arts is sustained by the influences of all these disciplines”. The rod (j•) is therefore 1 here. We can see that a trimmer of k •=1 is easy to justify as the rod is equal to 1 and as the poem „the Beacons“ is like an acolyte of „Correspondences“, as it shares the theme “"the imagination", "the arts"”, which is the protector belonging to the lid mentioned above. The viaduct m•=1 must be accepted, due to the rod of 1 and also to the satisfactory nature of both the trapeze and the festoon, both of which were examined in the previous paragraph. The gibbet p •=1 is guaranteed by the rod of 1, and in so far as the andiron gives depth to the flap. Finally, the flap studied allows for the swell w •=1 because the rod is equal to 1, and since the casing constitutes an application of the flap. To sum up, the gauge 1=(1/a•b•c•d•e•f•g•h•j•k•m•p•w•) seems to be justified according to the sequence of the boreholes: the bight, mallet, basket, hook, hub, nick, pendant, stool, rod, trimmer, viaduct, gibbet and swell. Their values in fact are a•=1, b•=1, c•=1, d•=1, e•=1, f•=1, g•=1, h•=1, j•=1, k•=1, m•=1, p•=1 and w•=1.

Let the expression \(ᵒ la nature.\.(.)est(.)un temple-[]ꞌꞌꞌprepares forꞌꞌꞌl'encens(.) chante(.)les transports [.]de l'esprit et des sens-[])/¨ (×(ᵒNature.\.(.)is(.)a temple'''prepares for'''the incense(.)sings(.)of the transports [.]of the mind and the senses)). The elastic can be read as follows: (Nature.\.;transports[.]; man<>). The stunt can be read as “how can we attain the lid "imagination in all the arts is sustained by the influences of all these disciplines", starting from the trapeze that is "Nature"?” We obtain this reply: “at the heart of Nature, the fields of sensitivity supply the five sense organs and, likewise, the beings that we understand through them. It is from here that the internal diversity of art comes, authorising parallels to be drawn between derived disciplines, by development from the initial source, painting and music in particular for vision and hearing. This means that, when practising one discipline, the artist benefits from all that his imagination weaves around the many elements coming from the other arts.” The request, furthermore, is this: “how to summarize, according to the context, all that man receives from the transports of the mind and the senses?” The reply follows swiftly: “everything comes down to something like ‘’"the imagination", "the arts"‘’, since the intellect and the senses turn to active musings which produce, over time, the arts, starting from an intense relationship with certain areas of reality.” The andiron is formulated in these words: “the creator cannot but have envisaged, at least fleetingly or in his musings, that the image of physical Nature, which is nonetheless also a temple, will convey the feeling of preparing for the notion that things that appear merely material, such as the incense, provide the basis of an intense expression of the whole being, spiritual and physical”. We can therefore interpret the beginning of the poem as preparing for its end. The casing is as follows: “physical Nature, having the essence of a construction attributed to the mind, causes the fact that a material product engenders considerable activity, both spiritual and physical”.

Let us evaluate the gauge of \(ᵒ la nature.\.(.)est(.)un temple-[]ꞌꞌꞌprepares forꞌꞌꞌl'encens(.) chante(.)les transports[.]de l'esprit et des sens-[])/¨ (×(ᵒNature.\.(.)is(.)a temple'''prepares for'''the incense(.)sings(.)of the transports[.]of the mind and the senses)). The correct value of the bight is a •=1, warranted for two reasons. Each of the septa of the flap, «Nature is a temple…» and “the incense sings of the transports of the mind and the senses”, contains at least one beam. None of these fronts occurs more than once in the flap. The mallet b•=1 seems inevitable since «Nature», «is», «temple» are written before «incense», «sing», «transports», «mind» and «senses». We can accept c •=1 for the basket since there would be no reason to fear the poem has been falsified or altered in any serious way. The hook (d •) is 1 because, once the idea of versification has been set aside, it seems obvious that there is nothing of a strictly rigorous scientific or technical nature in the poem. A hub e •=1 is necessary, since it seems possible that the creator could easily have understood the relationship studied. The nick f •=1 is based on three facts: the flap contains no illustration; it does not take a stance opposing to any liaison in the gameboard, and finally, each link in meaning offered in the septa remains at the level of the development of an initial connection in the gameboard. We can see clearly that «Nature is a temple…» and «There are perfumes cool…And others… Like amber, musk, benzoin and incense,
Which sing of the transports of the mind and the senses» provide material to contribute to the momentum of the flap. The pendant g •=1 results from three of the text’s characteristics. First, as understood from the gameboard, the poem does not very openly portray the idea that “the incense sings the transports of the mind and the senses” is prepared for by means of «Nature is a temple». Secondly, the creator does not reject this notion either. Finally, critics do not have the means of completely ruling out the image of such a foundation. The stool h •=1 is not in doubt because we are assured by the content of paragraphs 623, 624 and 625, concerning the nursery, that the flap is not affected by any shadiness. In particular, in the first septum of the flap studied above, we had “corresponds”, whereas in the new form of flap we have «is», which prevents the repetition from being complete. The rod being j•=1 can be argued for several reasons. First, Baudelaire’s poem is an independent work, with a title and typographic blanks before and after it; it respects a recognized form, that of the sonnet; there are fewer than a hundred fronts; the profile is ½. Next, the lid “imagination in all the arts is sustained by the influences of all these disciplines” summarises faithfully an important aspect of the overall significance of these lines. What is more, all the beams of the flap appear in these lines: «Nature», «is», «temple», «incense», «sing», «transports», “mind» and «senses». Fourthly, nothing in the doors or poises opposes the idea contained in the flap. With "temple-Nature", we have the door “divine-like edifice”. For the «living pillars», we obtain “animated as if by divine will”. For the pillars able to speak, the symbols looking at man, as well as for the perfumes, colours and sounds answering each other, “giving the impression of thought as if by divine will” . As regards the “corrupt incense”, we can add to the text, in our minds, “which seems active simultaneously for good and evil”. The trimmer is k •=1 because the rod is worth 1 and because the poem „the Beacons“ acts as an acolyte of „Correspondences“, allowing the sonnet to take on the status of a lair. We can accept a viaduct m•=1 as a result of the rod being 1 and because the stunt and the request are capable of obtaining a reply, as justified in paragraph 628. The gibbet p •=1 is assured thanks to the rod of 1 and because 628 shows that the andiron is limited to giving a development of the meaning of the flap. The swell is w•=1, through the rod being 1 and since 628 shows us, in the casing, a kind of reflection developing the ideas conveyed by the flap. Thus, the product for the boreholes a •, b•, c•, d•, e•, f•, g•, h•, j•, k•, m•, p•, w• gives ((1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1))=1, which gives the gauge 1/a •b•c•d•e•f•g•h•j•k•m•p•w•= 1.

We will turn our reflections at present to another flap: \(ᵒdans le temple.\., l'homme<>, le nouvel artiste, prêtre du beau, (.)est(.)initié aux arts en passant à travers des forêts de symboles-[]-ꞌꞌꞌprepares forꞌꞌꞌil(.)est(.) maintenant, pour lui, un usage plus facile des nuances du sensible pouvant l'inspirer, car il éprouve sans mal, notamment, les gradations des parfums²[.]trouvés au long de son itinéraire, sachant reconnaître ceux comme des chairs d'enfants…comme les hautbois…comme les prairies, ainsi que d'autres comptant parmi eux l'ambre, le musc, le benjoin et l'encens-[]-)/¨ (×(ᵒin the temple.\., man<>, the new artist, priest of beauty, (.)is(.)initiated into the arts by passing through forests of symbols'''prepares for'''there(.)is(.)now, for him, an easier usage of the nuances of sensitivity capable of inspiring him, since he experiences with ease, in particular, the gradations of perfumes[.]found along his route, able to recognize them like the flesh of children…like oboes…like meadows; and the others, counting among them amber, musk, benzoin and incense)). An elastic seems appropriate: (temple.\.;perfumes[.]; man<>). The stunt can be written as follows: “how can we attain the lid "imagination in all the arts is sustained by the influences of all these disciplines", starting from the idea represented by the beam "temple"?” A reply is given in these words: “it is the initiation in the temple of beauty that teaches us precisely to cross in one art, ideas from other disciplines.” Furthermore, the request is: “how to summarize, according to the context, all that man receives from perfumes, when some appear as the flesh of children, as oboes, as meadows, when others are of the type of amber, musk, benzoin and incense?” The reply is easy to formulate: “everything comes down to something like ‘’"the imagination", "the arts"‘’, since the intellect and the senses turn to active musings which produce, over time, the arts, starting from an intense relationship with certain areas of reality.” The andiron conforms to a description such as: “the creator cannot but have envisaged, at least fleetingly or in his musings, that the image of the man passing through forests of symbols will convey the feeling of preparing that of the aesthete who manages to find his way among the material profusion of the flesh of children, oboes, meadows, amber, musk, benzoin and incense”. It is a way of linking, by interpretation, the third line and the end of the sonnet. The casing can be written thus: “the initiation of the new artist causes him to grasp the abundant diversity of sensitivity, which he sees as going in various stages, from the level of the tender or childlike to the intensity of adulthood”.

Let us ask what would be the gauge for the flap \(ᵒdans le temple.\., l'homme<>, le nouvel artiste, prêtre du beau, (.)est(.)initié aux arts en passant à travers des forêts de symboles-[]-ꞌꞌꞌprepares forꞌꞌꞌil(.)est(.) maintenant, pour lui, un usage plus facile des nuances du sensible pouvant l'inspirer, car il éprouve sans mal, notamment, les gradations des parfums²[.]trouvés au long de son itinéraire, sachant reconnaître ceux comme des chairs d'enfants…comme les hautbois…comme les prairies, ainsi que d'autres comptant parmi eux l'ambre, le musc, le benjoin et l'encens-[]-)/¨ (×(ᵒin the temple.\., man<>, the new artist, priest of beauty, (.)is(.)initiated into the arts by passing through forests of symbols'''prepares for'''there(.)is(.)now, for him, an easier usage of the nuances of sensitivity capable of inspiring him, since he experiences with ease, in particular, the gradations of perfumes[.]found along his route, able to recognize them like the flesh of children…like oboes…like meadows; and the others, counting among them amber, musk, benzoin and incense)). We have here a bight a•=1 since the septa have at least one beam, and as none of the fronts is repeated. The mallet b•=1 seems assured, seeing that, in the poem, «temple», «man», «passes», «through», «forests» and «symbols» precede «are», «perfumes», «flesh», «children», «oboes», «meadows», «others», «amber», «musk», «benzoin» and «incense». We can write the basket as c•=1 due to the fact that we are not aware of any accident or falsification of the poem. We should also note the hook as d•=1, since the verse, apart from anything related to rhyme and metre, is not of the field of science nor any technical field. The hub e•=1 is warranted owing to the fact that the idea that an initiation makes it possible to see things which were previously difficult to identify, is nothing out of the ordinary for a mind familiar with the theological principle of the revelation. The nick f •=1 is assured because, firstly no illustration is harboured in the flap; next it is careful never to oppose any link in the meaning of the gameboard and, finally each of the links in meaning proposed in the septa is duly preceded, within the text, with a link from the gameboard. Indeed, “in the temple, man, the new artist” accompanies «Nature is a temple…There man…» Furthermore, “is initiated into the arts, by passing through forest of symbols” interprets «…(There man) passes through forests of symbols…» Moreover, the segment “there is now, for him, an easier usage of the nuances of sensitivity capable of inspiring him, since he experiences with ease, in particular, the gradations of perfumes found along his route, able to recognize them like the flesh of children…like oboes…like meadows; and the others, counting among them amber, musk, benzoin and incense” repeats «Nature is a temple…There man passes…There are perfumes…as the flesh of children…as oboes…as meadows,
-And others…Like amber musk, benzoin and incense…» The pendant g •=1 cannot be refused, for three reasons. For one thing, the creator is not seeking openly to introduce some meaning relating to «There are perfumes…as the flesh of children…as oboes…as meadows, -And others…Like amber, musk, benzoin and incense…» by means of «Nature is a temple…There man passes through forests of symbols…» What is more, the same author does not reject this possibility. Equally, the critics cannot find a way of dismissing absolutely this idea that what we call here the first septum, provides a basis for the content of the second. The stool h •=1 is assured by the content of paragraphs 623, 624 and 625, attesting that the flap being discussed will tolerate no shadiness in the whole of the nursery. A rod of j •=1 is achieved for the following five reasons. The clear determination of the sonnet, with its profile of ½ and the series of 74 fronts is not in doubt. The lid “imagination in all the arts is sustained by the influences of all these disciplines” summarizes faithfully an important aspect of the significance of the poem. Let us add that such a lid is easy to formulate. Among the compartments of the poem, we can see all the beams of the flap being studied here: «temple», «man», «passes», «through», «forests», «symbols», «are», «perfumes», «flesh», «children», «oboes», «meadows», «others», «amber», «musk», «benzoin» and «incense». Now, let us consider the doors and poises. With the aim of grasping the notion of "temple-Nature", we will use the expression “divine-like edifice”. To accept the image of the «living pillars», it is useful to take the expression “animated as if by divine will”. In order to understand the three images of pillars delivering words, of symbols observing man and of perfumes, colours and sounds answering each other, the door “giving the impression of thought as if by divine will” proves invaluable. The door “which seems active simultaneously for good and evil” serves to envisage the “corrupt incense”. Nothing in the flap being studied here is contrary to these images, and this is the last of the series of five reasons which show the existence of a rod j•=1. The trimmer k•=1 is assured by j•=1 and also by the presence, beside „Correspondences“ of an acolyte „the Beacons“, which makes it possible to constitute a lair. The viaduct m •=1 is acquired for us by j •=1 and by means of the rogations, stunt and request, with both seeing a reply appear, as we remarked in the previous paragraph. We obtain a gibbet p •=1, through j•=1 and thanks to the andiron interpreting the flap in a reasonable way. The swell w•=1 is necessary because j•=1 and through a casing that applies the meaning of the flap in an acceptable way. Overall, a •=1, b•=1, c•=1, d•=1, e•=1, f•=1, g•=1, h•=1, j•=1, k•=1, m•=1, p•=1 and w•=1 give, as a numerical product (a •b•c•d•e•f•g• h•j•k•m•p•w•)=((1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1))=1 and its inverse (1/a•b•c•d•e•f•g• h•j•k•m•p•w•)=(1/(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1))=1, which is the gauge sought.

Let the flap be \(ᵒ de vivants piliers.\.de l'art, esthètes reconnus, (.)laissent(.)parfois sortir de confuses paroles inspiratrices-[]-ꞌꞌꞌprepares forꞌꞌꞌl'homme<>, le nouvel artiste, prêtre du beau, (.)passe(.) haut la main son initiation, à travers des forêts[.]de symboles-[]-)/¨ (×(ᵒliving pillars.\.of art, recognized aesthetes, (.)let (.)forth at times confused inspiring words'''prepares for'''man<>, the new artist, priest of beauty, (.)passes (.)with flying colours his initiation, through forests[.]of symbols)). Noted thus, the elastic (pillars.\.;forests[.];man<>) is correct. The stunt looks like this: “how can we attain the lid "imagination in all the arts is sustained by the influences of all these disciplines", starting from the trapeze "pillars"?” The reply is swift: “the pillars, great aesthetes which together support all the arts, not only influence artists in their own discipline, but such and such, appearing in another art.” Moreover, the request is as follows: “how to summarize, according to the context, all that "man" receives from the "forests of symbols"?” and the answer to this is: “everything comes down to something like ‘’"the imagination", "the arts"‘’, since the intellect and the senses turn to active musings which produce, over time, the arts, starting from an intense relationship with certain areas of reality.” The andiron calls for a description of this kind: “the creator cannot but have imagined, at least fleetingly or in his musings, that the image of the living pillars of art, recognized aesthetes who let forth at times confused words, will convey the feeling of preparing for the notion of man, the new artist, priest of beauty, who sees this legacy as serving his own imagination”. The dominant perspective is that «…living pillars
Let forth at times confused words…» is linked to the affirmation: «…There man… passes through forests of symbols…» The casing can be noted: “the legacy of the pillars of art causes the use of previously drafted symbols, within what the new artist has done”.

We can determine the gauge for \(ᵒ de vivants piliers.\.de l'art, esthètes reconnus, (.)laissent(.)parfois sortir de confuses paroles inspiratrices-[]-ꞌꞌꞌprepares forꞌꞌꞌl'homme<>, le nouvel artiste, prêtre du beau, (.)passe(.)haut la main son initiation, à travers des forêts[.]de symboles-[]-)/¨ (×(ᵒliving pillars.\.of art, recognized aesthetes, (.)let (.)forth at times confused inspiring words'''prepares for'''man<>, the new artist, priest of beauty, (.)passes (.)with flying colours his initiation, through forests[.]of symbols)). The bight is a•=1 because the septa, “living pillars of art, recognized aesthetes, let forth at times confused inspiring words” and “man, the new artist, priest of beauty, passes with flying colours his initiation, through forests of symbols”, each possess at least one beam that the other does not; and because no fronts are repeated in the flap. It is necessary to note a mallet b •=1 since, in Baudelaire’s poem, «man», «passes», «through», «forests» and «symbols» are preceded by «living», «pillars», «Let», «forth», «times», «confused» and «words». The basket can be recorded as c •=1 given that there is no reason to fear any falsification or serious alteration of „Correspondences“. The hook (d •) has the value of 1, thanks to some ideas in the text not being particularly learned but being full of imagination, setting aside the rational device of versification. There can be no doubt that the hub is e •=1 since, for an artist in the XIX th century, the preparation of the theme of the initiation of the new great artist by that of previous masters poses no problem. The nick f •=1 is guaranteed to be error-free for three reasons: the flap contains no illustrations; it does not oppose any link in the gameboard and finally each of the links in meaning offered in either of the septa, but not on the level of the whole flap, is duly preceded within the lines of verse, with some gameboard connection. Indeed, «… living pillars
Let forth at times confused words…» and «…There man…passes through forests of symbols…» come from the text. The pendant g •=1 proves necessary, also, for three reasons. First, the creator does not provide entirely explicitly the meaning according to which «…living pillars
Let forth at times confused words…» prepares for «…There man…passes through forests of symbols…» Secondly, no denial of this is mentioned by the author. What is more, the critics have detected no misinterpretation of the text in the supposition of this link uniting the images. The stool h •=1 can be justified thanks to the fact that the flap, in the chosen nursery, is affected by no shadiness, as has been seen in 623, 624 and 625. The rod (j •) is 1, for three reasons. First, because all the beams of the flap come from the same den: «living», «pillars», «Let», «forth», «times», «confused», «words», «man», «passes», «through», «forests» and «symbols». Secondly, since the lid is not lacking in clarity: “imagination in all the arts is sustained by the influences of all these disciplines”. Thirdly, the flap under analysis here does not conflict in any way with the doors or the poises: “divine-like edifice” for "temple-Nature"; “animated as if by divine will”, as regards «living pillars»; “giving the impression of thought as if by divine will”, for the pillars delivering words and for the symbols observing man, as well as relative to the perfumes, colours and sounds answering each other; and finally “which seems active simultaneously for good and evil” regarding the “corrupt incense”. The trimmer is k •=1, since j•=1 and the poem „the Beacons“ constitutes an acolyte of „Correspondences“. The viaduct is m •=1, justified by the rod j•=1 and by the successful rogations, giving satisfactory relations in “stunt-trapeze” and “request-festoon”. The gibbet p•=1 is based on the rod j•=1 and on an andiron which is a deepening of the flap. The swell w•=1 owes much to the rod j•=1 and to a casing consisting of a development of the flap. The various contributors to the gauge, namely the bight, mallet, basket, hook, hub, nick, pendant, stool, rod, trimmer, viaduct, gibbet and finally the swell, are a•=1, b•=1, c•=1, d•=1, e•=1, f•=1, g•=1, h•=1, j•=1, k•=1, m•=1, p•=1 et w•=1, and the plausibility thus obtained is 1=1/a•b•c•d•e•f•g•h•j•k•m•p•w•.

We will now seek the gauge appropriate to this same flap: \(ᵒde longs échos entendus au loin.\. (.)confondent(.)se[]-ꞌꞌꞌprepares forꞌꞌꞌune ténébreuse et profonde unité[.] comme la nuit et…la clarté(.)est(.)à ce point vaste que le clair-obscur l'emporte-[]-)/¨ (×(ᵒlong echoes heard in the distance.\. (.)mingle(.)together'''prepares for'''a dark and profound unity[.], like the night and the light(.)is (.)so vast that the chiaroscuro takes over)). The bight is a•=1, given that the septa, essentially “long echoes heard in the distance mingle together” and “a dark and profound unity like the night and the light is so vast that the chiaroscuro takes over”, have at least one beam, and no repetition occurs in their use. The mallet b •=1 is necessary, because in the poem, «dark», «profound», «unity», «Vast», «as», «night», «light», and «are» are written after «long», «echoes», «distance» and «mingle». We must accept a basket c •=1, since no fear of falsification or serious alteration of the poem under analysis is justified. The hook (d •) is set at 1 as, by putting aside the rational device of versification, the notions in the text are not particularly learned ones but are full of imagination. The hub e •=1 can not be in doubt, the ease of grasping the preparation of the relation “light-dark” by that of the echoes not being really open to discussion. The nick f •=1 is guaranteed error-free, for three reasons: the flap contains no illustrations; it does not conflict with any link in the gameboard; and finally all the links in meaning proposed in the septa, but never on the scale of the whole flap, are duly preceded within the text by a gameboard relation established among the ideas. In fact, we can use lines 5, 6 and 7 as a basis. The pendant g •=1 is necessary, also for three reasons. First, the creator does not himself explicitly mention the idea according to which «…long echoes which mingle in the distance…» could prepare for «…in a dark and profound unity,
Vast as the night and as the light…» Secondly, the author does not reject such a basis. Thirdly, it is hard to see how the critics could find any proof that this supposition should be ruled out. The stool h •=1 proves correct because the flap is not affected by any shadiness, as has been seen in paragraphs 623, 624 and 625. Three points give us a rod (j•) of 1. First, all the fronts of the flap, «long», «echoes», «mingle», «distance», «dark», «profound», «unity», «Vast», «as», «night», «light», «are» belong to the same den. Secondly, the lid of this den is not impenetrable to logic: “imagination in all the arts is sustained by the influences of all these disciplines”. Thirdly, the same flap does not support any opposition to the doors or poises: “divine-like edifice”, regarding the "temple-Nature"; “animated as if by divine will” relating to the image of the «living pillars»; “giving the impression of thought as if by divine will” for the pillars delivering words, the symbols observing man, as well as for the perfumes, colours and sounds which answer each other; and finally “which seems active simultaneously for good and evil” as regards the “corrupt incense”. The trimmer is worth k •=1, thanks to the rod j•=1 and to the fact that the poem appears to be a lair. The viaduct confines itself to a level of m •=1, as a result of the rod equalling 1 and of the easily understood relationships linking both the trapeze with the stunt, and the festoon with the request. The gibbet cannot be greater than p •=1, benefiting as it does from the rod j•=1 and from the andiron in the form of a deepening of the flap. The value of the swell is w •=1, from the rod (j•) being equal to 1 and from the casing which limits itself to giving a development of the meaning of the flap.

Let us describe the flap \(ᵒde par leur essence incompréhensiblement vaste.\.…nuit et…clarté(.) unissent(.)s'-[]-ꞌꞌꞌprepares forꞌꞌꞌdes parfums²… corrompus[.], riches et triomphants, ayant l'expansion des choses infinies…(.)transportent(.)…l'esprit et les sens)) (×(ᵒby their essence incomprehensibly vast.\.… night and…light(.)unite(.)together '''prepares for'''corrupt[.]perfumes, rich and triumphant, having the expansion of infinite things…(.)transport(.)…the mind and the senses)). The elastic can be defined as: (Vast.\.;corrupt[.];man<>). The stunt looks as follows: “how can we attain the lid "imagination in all the arts is sustained by the influences of all these disciplines", starting from the trapeze which is "Vast"?” We can give this reply: “the vast artistic domain connects by internal correspondences the disciplines, the closest to and the furthest from each other, such that in each, the imagination is sustained by the influences of all.” Moreover, the request is: “how to summarize, according to the context, all that man receives from the corrupt perfumes?” This reply is appropriate: “everything comes down to something like ‘’"the imagination", "the arts"‘’, since the intellect and the senses turn to active musings which produce, over time, the arts, starting from an intense relationship with certain areas of reality.” The andiron will be: “the creator cannot but have envisaged, at least fleetingly or in his musings, that the representation of the incomprehensible immensity that surrounds us, notably good and evil, would convey the feeling of preparing the thought that corruption is a source of inebriation”. We base all of this on the words: «Vast as the night and as the light…» and then «…Perfumes…others, corrupt, rich and triumphant,

Having the expansion of infinite things…Which sing of the transports of the mind and the senses.» The casing has the following form: “the immensity, in the dark and the light, the evil and the good, causes the transport of inebriation”.

We will now seek to establish the gauge of the same flap: \(ᵒde par leur essence incompréhensiblement vaste.\.…nuit et…clarté(.)unissent(.)s'-[]-ꞌꞌꞌprepares forꞌꞌꞌdes parfums²…corrompus [.], riches et triomphants, ayant l'expansion des choses infinies…(.)transportent(.)…l'esprit et les sens)) (×(ᵒby their essence incomprehensibly vast.\.…night and…light(.)unite(.)together'''prepares for'''corrupt[.] perfumes, rich and triumphant, having the expansion of infinite things…(.)transport(.)…the mind and the senses)). The value of 1 can be attributed to the bight (a •) because the septa contain at least one beam and no repetition occurs in their use: “by their essence incomprehensibly vast, night and light unite together”; then “corrupt perfumes, rich and triumphant, having the expansion of infinite things, transport the mind and the senses.” The mallet b•=1 is necessary since the beams of the first septum, «unity», «Vast», «night», «and», «light» occur in the lines of the poem, before those of the other: «Perfumes», «corrupt», «rich», «triumphant», «Having», «expansion», «things», «infinite», «transports», «mind» and «senses». We must note the basket as c•=1, given that any major alteration or falsification of Baudelaire’s sonnet as it is in our possession at present appears impossible. The hook (d •) is equal to 1, thanks to the poetical images of questionable precision. The hub e•=1 is inevitable, since the juxtaposition of opposites, «night and…light», as well as the mixture of images of evil and of the infinite blend well with the notion of transport. Finally, among these poetic views, some appear to announce the others. Three points lead to a nick f •=1: the absence of illustration; the flap’s absence of opposition to any link from the gameboard whatsoever; and finally the possibility, starting with the original sense, to formulate each link in meaning within the septa. Indeed, «…Vast as the night and as the light…» belongs to the lines studied, as does «unity», and «There are perfumes…corrupt, rich and triumphant,

Having the expansion of infinite things…Which sing of the transports of the mind and the senses.» The pendant g •=1 is inescapable for three reasons. We have the fact that the creator does not really declare openly that in his eyes, something like the passage «…Vast as the night and as the light…» prepares for this other one: «There are perfumes…corrupt, rich and triumphant,

Having the expansion of infinite things…Which sing of the transports of the mind and the senses.» What is more, the author does not reject this notion either. Finally, we do not see how the critics could affirm that this link is entirely illusory. The stool must be noted as h •=1 because the nursery is not affected by any shadiness, as has been seen in paragraphs 623, 624 and 625. The rod (j •) is 1 as a result of the following three points. Firstly, all the beams of the flap, «unity», «Vast», «night», «light», «perfumes», «corrupt», «rich», «triumphant», «Having», «expansion», «infinite”, «things”, «transports», «mind» and «senses», belong to the same den. Secondly, the text itself possesses a lid of great simplicity: “imagination in all the arts is sustained by the influences of all these disciplines”. Thirdly, the flap does not prevent the employment of any doors or poises: “divine-like edifice”, of use to more easily grasp "temple-Nature"; “animated as if by divine will”, employed to throw light on the image of the «living pillars»; “giving the impression of thought as if by divine will” concerning the pillars delivering words, the observation made by the symbols, as well as regarding the exchange of words between perfumes, colours and sounds; and finally the door “which seems active simultaneously for good and evil”, as regards the theme of the “corrupt incense”. The trimmer is k•=1 because the rod is of the same value, j •=1, and because the text belongs to the category of works called lairs. The viaduct m •=1 is assured thanks to the rod j •=1 and to the easy-to- understand rogations, with the relations “stunt-trapeze” and “request-festoon” formulated with no difficulty. The gibbet is p•=1, by the rod j•=1 and the andiron that is available, forming a deepening of the flap. There can be no doubt that the swell is w •=1, with the rod being j•=1 and with the casing bringing us to a faithful interpretation of the flap. The inverse of the numerical product of the boreholes seen here, or the gauge (1/a•b•c•d•e•f•g•h•j•k•m•p•w•), gives us a value of (1/(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1))=1.

Let us describe \(ᵒ les parfums¹[.], les couleurs et les sons(.)répondent(.).\.se-[]-ꞌꞌꞌprepares forꞌꞌꞌ il(.)est(.)des parfums² frais…doux…verts…et d'autres, corrompus, riches et triomphants-[]-)/¨ (×(ᵒPerfumes [.], colours and sounds (.)answer(.).\.each other'''prepares for'''there(.)are(.)perfumes…cool…sweet…green …and others, corrupt, rich and triumphant)). The elastic can be written thus: (answer.\.;Perfumes[.];man<>). The stunt looks as follows: “how can we attain the lid "imagination in all the arts is sustained by the influences of all these disciplines", starting from the trapeze "answer"?” The following reply seems appropriate: “as the arts correspond, or answer each other, every artist feeds his imagination on all masterpieces.” Let us consider now the request of the flap: “how to summarize, according to the context, all that man, the new artist, receives in general from perfumes, while we learn that in their particularities, they take on different, and even in certain cases opposite, moral qualities?” The reply is swift: “everything comes down to something like ‘’"the imagination", "the arts"‘’, since the intellect and the senses turn to active musings which produce, over time, the arts, starting from an intense relationship with certain areas of reality.” The andiron can be noted thus: “the creator could not but have envisaged, at least fleetingly or in his musings, that the representation of an identical form, within the domains of the five senses, will give the feeling of preparing the notion that sensitive beings, or the impressions they give rise to within us, use the same series of equally possible moral characteristics”. In the eighth line, and then in the two tercets, we have the two passages commented on in this way. By the tunnel, a more expeditious means, a similar content can be noted in the casing: “the correspondence of perfumes, colours and sounds causes the resemblance in their moral potentialities”.

We now need to determine the gauge of \(ᵒ les parfums¹[.], les couleurs et les sons(.)répondent (.).\.se-[]-ꞌꞌꞌprepares forꞌꞌꞌil(.)est(.)des parfums² frais…doux…verts…et d'autres, corrompus, riches et triomphants-[]-)/¨ (×(ᵒPerfumes[.], colours and sounds(.)answer(.).\.each other'''prepares for'''there(.)are(.) perfumes…cool…sweet…green…and others, corrupt, rich and triumphant)). The value a •=1 is appropriate for the bight because the septa, essentially «Perfumes, colours and sounds answer each other» and «There are perfumes…cool…Sweet…green…And others, corrupt, rich and triumphant», have at least one beam and it is not the same one. The mallet b•=1 is obligatory, given that the words «are», «perfumes», «cool», «Sweet», «green», «others», «corrupt», «rich», «triumphant» are preceded by «Perfumes», «colours», «sounds», «answer» and «each». We must write the basket as c •=1, due to the fact that nothing such as a falsification or any serious alteration of the sonnet in question has occurred. The hook (d •) is set at 1, as a result of the poetic images in the text. The hub e •=1 cannot be in doubt as we attribute to many authors of the XIXth century views on the communication between the facets of our impressions at the moral and sensory levels, allowing us to provide a foundation for «There are perfumes cool…Sweet…green… And others, corrupt, rich and triumphant» by means of «…Perfumes, colours and sounds answer each other.» The nick f•=1 seems reasonable, for three reasons, the first being that the flap does not contain any sort of illustration. The second is that not a single passage opposes a link in the gameboard, and the third, that each connection in meaning within the two septa, taken separately, does no more than interpret a gameboard relationship that is already present. Effectively, «…Perfumes, colours and sounds answer each other» and «There are perfumes cool…Sweet…green…And others, corrupt, rich and triumphant…» are essentially taken from the poem. There can be no doubt about the pendant g •=1, on three grounds. Firstly, nothing in the poem explicitly details anything like a judgement according to which «There are perfumes… cool…Sweet…green…And others, corrupt, rich and triumphant…» would have a basis provided by “… Perfumes, colours and sounds answer each other.” Secondly, no rejection of this idea occurs. Finally, no remark among all those made by the critics allows us to reject this link in meaning. We find a stool of h •=1 because paragraphs 623, 624 and 625 have shown that the nursery is not affected by any shadiness. The rod (j•) is 1, thanks to the following considerations. Firstly, the lid is easy to describe. Next, the whole series of beams from the flap «Perfumes», «colours», «sounds», «answer», «each», «are», «perfumes», «cool», «Sweet», «green», «others», «corrupt», «rich» and «triumphant» are present in the same den. Moreover, the flap cannot oppose the doors or poises given here: “divine-like edifice”, for the notion of "temple- Nature"; then “animated as if by divine will”, regarding the «living pillars»; “giving the impression of thought as if by divine will”, concerning pillars which emit words, the observations made by the symbols and the exchange of words between perfumes, colours and sounds; finally, “which seems active simultaneously for good and evil” as regards the “corrupt incense”. The trimmer is k •=1 because the rod is also j •=1 and because the text proves to be a lair. The viaduct m •=1 is justified since the rod (j •) is 1 and each of the rogations give rise without difficulty to the relationships “stunt-trapeze” and “request-festoon”. The gibbet is p•=1, thanks to the rod (j•) being 1 and to the andiron forming a deepening of the flap. The swell remains w•=1, since the rod is j•=1 and the casing consists of a development which does not radically change the meaning of the flap. The inverse of the numerical product of the boreholes seen here, or the gauge (1/a•b•c•d•e•f•g•h•j•k•m•p•w•) will thus amount to (1/(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1)(1))=1.

The tonnage of the reference nursery comes from the numerical product of the gauges that we have just calculated. Since all the measurements came to 1, the tonnage is also ((1)(1)(1)(1)(1)(1)(1))=1.