Egoists

consumption, of the gin absorbed by gentle Charles Lamb, of Coleridge's dark ways, Byron's escapades, and Shelley's atheism-alas! into what faded limbo have they vanished. Poe, too, Poe whom

consumed twelve thousand drops of laudanum as often as he said he did. Furthermore, the English essayist's description of the drug's effects is inexact. He was seldom sleepy-a sure sign, asserts Dr. Guerrier, that he was not altogether enslaved by the drug habit. Sprightly in old age, his powers of labour were prolonged until past three-score and ten. His ima

the promulgation of these tales-witness his Souvenirs Littéraires. However, it may be confessed that part of the Baudelaire legend was created by Charles Baudelaire. In the history of literature it is difficult to parallel such a deliberate piece of self-stultification. Not Villon, who preceded him, not Verlaine, who imitated him, drew for the astonishment or disedification of the world like unflattering portraits. Mystifier as he was, he must have suffered at times from acute cortical irritation. And, notwithstanding his desperate effort to realize Poe's idea, he only proved Poe correct, who had said th

task for some young poet who will disentangle the conflicting lies originated by Baudelaire-that tragic comedian-from the truth and thus save him from himself. The new Crépet volume is really but a series of notes; there are some letters addressed to the poet by the d

at table. There were guests present. After some words Charles bounded at the General's throat and sought to strangle him. He was promptly boxed on the ears and succumbed to a nervous spasm. A delightful anecdote, one that fills with joy psychiatrists in search of a theory of genius and degeneration. Charles was given some money and put on board a ship sailing to East India. He became a cattle-dealer in the British army, and returned to France years afterward with a Vénus noire, to whom he addressed extravagant poems! All this according to Du Camp. Here is another tale, a comical one. Baudelaire visited Du Camp in Paris, and his hair was violently green. Du Camp said nothing. Angered by this indifference, Baudelaire asked: "You find nothing

n by Du Camp. Charles was provided with five thousand francs for his expenses, instead of twenty-Du Camp's version-and he never was a beef-drover in the British army, for a good reason-he never reached India. Instead, he disembarked at the Isle of Bourbon, and after a short stay was seized by homesickness and returned to France, being absent about ten months. But, like Flaubert, on his return home Baudelaire was seized with the nostalgia of the East; out there he had yearned for Paris. Ju

tic as the late Edmund Clarence Stedman writing, "Poe's chief influence upon Baudelaire's own production relates to poetry." It is precisely the reverse. Poe's influence affected Baudelaire's prose, notably in the disjointed confessions, Mon c?ur mis à nu, which recall the American writer's Marginalia. The bulk of the poetry in Les Fleurs de Mal was written before Baudelaire had read Poe, though not published in book form until 1857. But in 1855 some of the poems saw the light in the Revue des deux Mondes, while many of them had been put forth a decade or fifteen years before as fugitive verse in various magazines. Stedman was not the first to make this mistake. In Bayard

ersonality to reach the central core of his music. But every ardent young soul entering "literature" begins by a vindication of Poe's character. Poe was a man, and he is now a classic. He was a half-charlatan as was Baudelaire. In both the sublime and the sickly were never far asunder. The pair loved to mystify, to play pranks on their contemporaries. Both were implacable pessimists. Both were educated in affluence, and both had to face unprepared the hardships of life. The hastiest comparison of their poetic work will show that their only common ideal was the worship of an exotic beauty. Their arti

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ght be termed intellectual prestidigitation. The mathematical Poe, the Poe of the ingenious detective tales, tales extraordinary, the Poe of the swift flights into the cosmical blue, the Poe the prophet and mystic-in these the American was more versatile than his French translator. That Baudelaire said, "Evil, be thou my good," is doubtless true. He proved all things and found them vanity. He is the poet of original sin, a worshipper of Satan for the sake of paradox; his Litanies to Satan ring childish to us-in his heart he was a believer. His was "an infinite reverse aspiration," and mixed up with his pose was a disgust for vice, for

ricades, wrote inflammatory editorials calling the proletarian "Brother!" (oh, Baudelaire!) and, as the Goncourts recorded in their diary, had the head of a maniac. How seriously we may take this swing of the pendulum is to be noted in a speech of the poet's at the time of the Revolution: "Come," he said, "let us go shoot General Aupick!" It was his stepfather that he thought of, not the eternal principles of Liberty. This m

-he wrote in his diary of prayer's dynamic force-when he was penniless, in debt, threatened with imprisonment, sick, nauseated with sin: "To make every morning my prayer to God, the reservoir of all force, and all justice; to my father, to Mariette, and to Poe as intercessors." (Evidently, Maurice Barrès encountered here his theory of Intercessors.) Baudelaire loved the memory of his father

of pebble, a gleam of blue sky, arabesques of incense and verdigris, despairing hearts and music and the abomination of desolation for ground-tones. But this soul-nest is also a cemetery of the seven sorrows. He loved the clouds .... les nuages ... là bas ... It was là bas with him even in the tortures of his wretched love-life. Corruption and death were ever floating in his consciousness. He was like Flaubert, who saw everywhere the hidden skeleton. Félicien Rops has best interpreted Baudelaire: the etcher and poet were closely knit spirits. Rodin, too, is a Baudelarian. If there could be such an anomaly as a native wood

vaded, every marsh-light and glow-worm inhabited. Like Wagner, Baudelaire painted in his sultry music the

erhaps, nearer Donne and Villon than any of the others-strains of the metaphysical and sinister and supersubtle are to be discovered in him. The disharmony of brain and body, the spiritual bi-location, are only too easy to diagnose; but the remedy? Hypocrite lecteur-mon semblable-mon frère! When the subtlety, force, grandeur, of his poetic production be considered, together with its disquieting, nervous, vibrating