The Flowers of Evil Study Guide by Course Hero What's Inside some as being the first modernist work of literature, The Flowers of Evil foreshadowed the modernist movement that would sweep the worlds of art and literature alike for nearly a century after Baudelaire's death. Many 20th-century masters j Book Basics ................................................................................................. 1 d In Context ..................................................................................................... 1 a Author Biography ..................................................................................... 4 of literature, art, and music have credited Baudelaire and The Flowers of Evil as crucial to the creation of their masterpieces. Like modernity itself, with its fragmentation and overabundance of competing narratives, The Flowers of Evil dives deep into mankind's literary, artistic, and philosophical h Characters .................................................................................................. 6 k Plot Summary ............................................................................................. 8 c Poem Summaries .................................................................................. 20 g Quotes ........................................................................................................ 39 history, reinventing old symbols and sensibilities into something completely new—and still fresh—more than 150 years after its publication. ABOUT THE TITLE Sometimes the title The Flowers of Evil (Les Fleurs du mal) is traced to a passage written by the French author Honoré de l Symbols ..................................................................................................... 42 Balzac (1799–1850), which separates humanity into those who conform and those who live by opposition. Balzac describes m Themes ...................................................................................................... 43 b Narrative Voice ....................................................................................... 46 such oppositional, potentially destructive individuals as "the richly colored poisonous plant that fascinates children in the woods ... the poetry of evil." Underlying the poems in The Flowers of Evil is the idea that humanity has fallen from God's grace and is controlled by an evil agent, variously j Book Basics characterized as Satan or the Demon. This evil agent is responsible for the desires that grip mankind, and all human activity—in particular, love and sex—is but the manifestation, or AUTHOR flowering, of this fundamental evil. Charles Baudelaire YEAR PUBLISHED 1857 d In Context GENRE Drama, Religion AT A GLANCE Shocking for its frank sexuality and religious blasphemy when it was published (and subsequently partially censored by the Modernity and Baudelaire's Paris French government), The Flowers of Evil is one of the most important works of 19th-century poetry and arguably one of While the mainstream art world continued to concern itself the most important literary creations of all time. Credited by with the classical past, Baudelaire sought to capture what was The Flowers of Evil Study Guide unique and heroic about his own era and to elevate it through his art. He found himself at a moment when the old was rapidly In Context 2 Literary Movements passing away and the emerging new world required new ways of being and understanding that had not yet been articulated, Baudelaire's work can be thought of as belonging to four let alone cemented into tradition. The word he used to interrelated literary movements that flourished during his describe this situation was modernité, from which we get the lifetime or shortly thereafter. These movements are French English word modernity. symbolism, aestheticism, decadence, and modernism. The forms and subject matter used by each of these movements Baudelaire defined a mode of being appropriate to this are reactions to the new modern society of Baudelaire's era modernity in his notion of the aesthetics of the self. An and beyond. individual ought to seek to understand oneself as he does the world, which requires adopting certain practices, positions, and goals. The modern Baudelairian heroes are the dandy or French Symbolism flâneur, the alienated man of culture and leisure who walks the city, observing but not becoming either the moneyed bourgeois Baudelaire's poetry falls in line with the movement known as class that spawned him nor the common crowd that flows French symbolism. The French symbolist movement, generally around him and on which he trains his gaze. The female considered to cover the years 1840–1920, used poetic counterpart—the only woman whose freedom approaches that techniques that bridged the gap between Romantic poetry and of the male dandy—is the prostitute. The poem "Allegory" modernist poetry. Symbolist poetry uses symbolism to link two shows the prostitute-as-modern-hero. worlds: the external, actual world and the internal world of perception, emotion, and experience. A sense of the mystical The poems in "Parisian Scenes" are largely narrated from the arises through the way that images of the external world are point of view of the flâneur. These poems also record the layered. In symbolist poetry, juxtaposition is used to create change from the old to the new, both within the city setting and tone within a poem. This tone defines the poem rather than any as a way of being. The renovation of Paris at the hands of clear message about the world. A core symbolist technique urban planner Baron Georges-Eugène Haussmann, which used often in The Flowers of Evil is descriptions of synesthesia, spanned more than two decades beginning around 1853, the expression of one sense in terms of another sense. The transformed the city's character completely. Baudelaire speaks best expression of symbolist thought and technique is found in directly to this transformation in his poem "The Swan." Baudelaire's poem "Correspondences," which describes the world as "forests of symbols" that are "echoes" from another For Baudelaire, modernity's essence could be found in a new realm, and which blend together, or correspond, experience of and relation to the passage of time. The present synesthetically. is the fleeting instant, continually swallowed by the future and made into the past. This means that present time has an aspect of the eternal or ancient to it, and it is infused with Aestheticism nostalgia. This idea is conveyed in the many poems in which Baudelaire describes the present using allusions to the The aestheticism movement broke with the Victorian classical or antique past, such as "Previous Existence" and "A conception of art as a means of transmitting moral values. The Voyage to Cythera." The notion of time as the "tireless mainstream artist of the Victorian period, which spans the gambler" destroying the present by "win[ning] / on every turn years 1837–1901 (during the rule of English queen Victoria), of the wheel" is especially evident in the poems "The Clock" held that art's purpose was didactic. Art should teach its and "The Enemy." audience proper morals by presenting morally charged situations that the audience could use as models for its own behavior. Baudelaire and other aestheticists, in contrast, held Baudelaire and Contemporary that art was not about teaching morals but was rather a search for beauty and the pleasure that such beauty could give. Aestheticism was scandalous to many Victorians not just for its embrace of experimentation and its embodiment of "art for Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide In Context 3 art's sake." In giving preference to aesthetic pleasure and are in the previous century, however, and Baudelaire is beauty, it rejected the moral code of the day. Aestheticist considered by many to be the first modernist poet. The themes are common in The Flowers of Evil, with many of the defining characteristic of modernism is a break with tradition poems expressing the search for beauty as a way to rise and the embrace of innovation and experimentation. above the boredom and burden of life. The degree to which Nonetheless, modernist literature has certain specific Baudelaire's ideology clashed with the dominant mores of his characteristics, many of which appear in The Flowers of day is evidenced by the 1857 obscenity trial and subsequent Evil—written 50 years before the modernist period. banning of six poems from The Flowers of Evil. One of the poems banned after being found by the French government to In seeking to describe his own era according to its own terms be offensive to public morality, "Jewels," is a frank description and in taking urban man's state of alienation as the norm, of the speaker's sexual encounter with his lover. Baudelaire takes a position that would become essential to modernism. Poetic self-reflexivity or self-consciousness, in which a poem exposes itself as poetry and explores how Decadence poetry works, is another distinctly modernist mode that is first found in Baudelaire's poetry. Baudelaire's focus on imagination, The decadents, a group of artists who adopted this name in subjective experience, and a collapse of stable reality into the 1880s, considered Baudelaire to be the father of their fragments that float between the inner world and the outer movement. Decadent literature took a certain attitude in world is a foreshadowing of core features of modernism. So is response to the materialism, bourgeois capitalism, and his obsession with the new, which he pursues both as literary modernity of the era. In an 1881 essay, French writer Paul form through innovation and remixing of older forms and as a Bourget (1852–1935) explained decadence as an anarchy or feature of experience or a way of being. American poet Ezra disintegration that occurs within society when surplus, rather Pound (1885–1972), one of the key figures of modernism in than scarcity, becomes the norm. Decadence rebels against poetry, could have been paraphrasing Baudelaire when he the social order because adherence to this order is no longer famously declared, "Make it new!" necessary for continued survival, and therefore is not meaningful. The decadent artist embraces individualism, Baudelaire's revolutionary status in the world of poetry is focusing on exploring and satisfying individual desires and confirmed by another great modernist poet, the English writer understanding one's own soul. Decadence's rejection of social T.S. Eliot (1888–1965). Eliot praised Baudelaire for undertaking norms appears from the point of view of mainstream society to a "complete renovation" not only in his use of language but also signal corruption, immorality, decay, and danger. Baudelaire's in the philosophies and attitudes that his poems convey. poetic forms and thematic concerns are decadent. His contempt for dominant society, his attraction to the strange and morbid and melancholy, and his constant search for the mystic reality under the false surface of the ordinary world are all elements central to the decadent movement. Decadence Satan Trismegistus and Alchemy certainly appears in The Flowers of Evil in the poem "A Martyr," in which the speaker views a work of art and directly In "To the Reader, " Baudelaire presents the character of Satan addresses the drawing's subject, the beheaded, bleeding, as an alchemist. The pseudoscience of alchemy was an naked corpse of a woman. Avoiding any moral issues evoked attempt to transform metals such as lead or copper into silver by the apparent murder, the speaker almost seems jealous or gold for the purpose of curing ailments or extending life. that the beheaded woman is, in death, "Far from a scornful Historically, alchemy was also viewed as a way to understand world of jeering crowds / and peering magistrates." the intentions of God by witnessing heavenly and earthly processes. Because alchemists experimented with metals, including liquid mercury, sulfur, and corrosive salts, they laid Modernism the groundwork for the science of chemistry by discovering mineral acids. Through the process of this pseudoscience, Modernism was the dominant movement in literature and art Satan transmutes the human creatures of God, leaching from during the first half of the 20th century. The movement's roots them their free will and perhaps coming closer to Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide understanding his enemy. Author Biography 4 but with an old wolf's itch, / one who escapes his tutor's monologues, / and kills the day in boredom with his dogs." Richard Howard's The Flowers of Evil Richard Howard's 1982 translation renders the same lines as "I'm like the king of a rainy country, rich / but helpless, decrepit though still a young man / who scorns his fawning tutors, wastes his time / on dogs and other animals, and has no fun." Richard Howard's 1982 translation of The Flowers of Evil was Additional Poems Two editions of The Flowers of Evil were published while Baudelaire was alive. The first edition, published in 1857, was quickly censored for obscenity. The 1861 edition, which Baudelaire described as a "mutilated" version of his book, omitted the six poems banned by a French court for obscenity. A third edition was published posthumously in 1868. praised by the New York Times upon its release as "the first genuinely readable Baudelaire in English." Indeed, it has become the standard English translation of the text. As Howard indicates in his Foreword, his goal was to produce a rendering of The Flowers of Evil that faithfully conveyed the mythology of the poetry. Instead of reproducing or imitating the form or line-by-line meaning of the original French, Howard chooses to play freely with language, form, and tone. His translations are worthy poems unto themselves, original works The six named sections that comprise the bulk of Richard that nonetheless faithfully reveal what Baudelaire referred to Howard's 1982 translation of The Flowers of Evil are followed as "a perfect whole" of meaning in The Flowers of Evil. by a seventh section, "Additional Poems." These additional poems were added to the third edition of The Flowers of Evil, published one year after the poet's death. Some of these additional poems were first published in the final book a Author Biography Baudelaire released during his lifetime, 1866's Epaves (Scraps). Translation Early Years Charles Baudelaire was born in Paris on April 9, 1821. Though Baudelaire wrote the poems in The Flowers of Evil in French, health issues cut his life short, Baudelaire's works and ideas with tightly controlled rhyme and meter, a restricted created a seismic change not only in the art and literature that vocabulary, and often in accordance with poetic forms that followed him but also in our understanding of what it means to were antique in the mid-19th century. At the same time, in the be an individual in a modern society. original French, the poems share a consistency of style that creates the effect that each poem is a fragment of Baudelaire's elderly father died when the boy was six. His Baudelaire's poet-self. Taken together, they create an much younger mother's subsequent marriage to a rising undoubtable expression of his unique voice. military officer, Jacques Aupick, would have a significant effect on the poet's life. The young Baudelaire was extremely close Although various writers have translated individual poems into with his mother, and this relationship would continue until the English, there was no complete English version of The Flowers poet's death. Baudelaire was expelled from high school, where of Evil until English poet and critic Arthur Symons's he was studying philosophy, for mischievous behavior. He (1865–1945) translation in 1925, almost 70 years after The completed his degree with a private tutor's help, but his plan to Flowers of Evil was first published. Numerous translations of study law at university went by the wayside as the 18-year-old parts or the whole of the text have appeared since then. found himself more interested in becoming a writer. This desire Translation, especially of poetry, is an art, not an act of involved spending a lot of time in Paris cafes with artists and copying—as the vast differences among various translations of prostitutes. It was around this time that Baudelaire contracted the same work make clear. For example, in 1963, American syphilis, the sexually transmitted disease that would wreak poet Robert Lowell (1917–77) rendered lines 1–4 of "Spleen (III)" havoc on his health for the rest of his life. as "I'm like the king of a rain-country, rich / but sterile, young Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide Author Biography 5 Baudelaire's mother and stepfather, dismayed at the young Poe, whom he admired and whose ideas about art, beauty, and man's unemployment, poor health, and scandalously original sin he absorbed. Throughout the 1850s, Baudelaire irresponsible behavior, sent him on a sea voyage to India in the published translations of Poe's work as well as critical studies. summer of 1841. The ship never reached India, and Baudelaire returned to Paris the following February. Although the trip did not have the sobering effect his parents had hoped, Baudelaire's experiences at sea and in the tropics would have a profound influence on his thought and poetry for the rest of The Writing and Reception of The Flowers of Evil his life. Back in Paris, Baudelaire returned to pursuing a poet's life and quickly squandered the sizable inheritance his father had left him. Baudelaire's ideal of the modern hero, a dandy, meant indulging in his taste for fine clothing and changing his hairstyle often. He soon met the woman who would be one of his major muses: Jeanne Duval, a dancer and courtesan from Haiti. Baudelaire was immediately entranced by Duval, and their tempestuous relationship would last for years. She was fond of spending his money, while he liked to sketch her figure and write about her. Although the first edition text of The Flowers of Evil was published in July 1857, Baudelaire had been working on some of the poems since 1842. He worked closely to prepare the texts with his publisher, Auguste Poulet-Malassis; the two men developed a friendship that would last until Baudelaire's death. Within a month, negative appraisals by the conservative media brought the book to the attention of the Public Safety department of the Ministry of the Interior. The Ministry made a report declaring that the book violated laws protecting morality and religion; 13 poems were provided as evidence. At the subsequent trial, Baudelaire fought the charges, arguing that other writers had written far more immoral things without being Middle Years censored and that his poems were designed to be taken as a whole, providing the reader with a moral education by exposing the horror of immorality. Regardless, six poems were banned, During the early 1840s Baudelaire began to write the poems and Baudelaire was fined. The book returned for sale with the comprising The Flowers of Evil. In 1845 his first published poem six poems removed. The trial increased Baudelaire's fame, and appeared. This was "To a Creole Lady," a poem that describes several contemporary authors wrote in praise of the poems. a woman he met on his sea voyage and is included in The The most respected critics of the day were enthusiastic about Flowers of Evil. That same year, he announced his plan to the collection. A second edition was published in 1861, which commit suicide. His subsequent attempt failed. He began to included 35 new poems and the section "Parisian Scenes." translate the work of American author Edgar Allan Poe (1809–49) and to experiment occasionally with drugs like hashish and opium. Introduced to opium by his mistress Jeanne Duval, Baudelaire would struggle with addiction to the substance for years. The mid-1840s saw the publication of Baudelaire's only novella as well as numerous essays and important critical pieces in which Baudelaire presented his theory of art. Late in the decade, Baudelaire was swept up in the revolutionary fervor that was overtaking Europe. His participation in the 1848 French Revolution that lead to the removal of the French constitutional monarchy included his attempts to incite the murder of his stepfather, General Aupick. Later Years In the 1860s Baudelaire exploited the reputation that his trial had granted him as a "cursed poet," while he continued to write and publish works of criticism and poetry, including the prose poem, which would occupy his poetic output from 1862 onward. He saw it as a new form appropriate for the new modernity. His lifelong financial troubles continued, and in 1864, he traveled to Belgium for work. From 1864 until 1866 he lived in a hotel in Brussels. He gave a lecture series that failed In the 1850s Baudelaire adopted a decidedly apolitical stance, miserably and began to nurse a hatred for the country. On describing his revolutionary fervor as a "frenzy." Eleven poems March 15, 1866, Baudelaire collapsed from a stroke. The stroke later included in The Flowers of Evil were published in 1851; left Baudelaire with aphasia—the inability to speak. Until his another 18 were published in 1855. Baudelaire had for some death on August 31, 1867, the poet who had revolutionized years been studying and translating the work of Edgar Allan literature with his output was reduced to having no voice at all. Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide Soon after his death, Baudelaire's seven-volume Complete Works, as well as several biographies, were published. Characters 6 God Throughout the text, Baudelaire emphasizes the separation of Legacy Many important writers that came after Baudelaire have indicated the importance of his work to their own. These include the significant late-19th-century French poets Stephane Mallarme (1842–98), Arthur Rimbaud (1854–91), and Paul Verlaine (1844–96), writer Marcel Proust (1871–1922), existentialist philosopher and writer Jean-Paul Sartre (1905–80), and even Beat poet Allen Ginsberg (1926–97). To this day, critics and lovers of poetry continue to engage with Baudelaire's work; The Flowers of Evil is included in many literature curricula in schools around the world. Over a century after the poet's death, the work of Baudelaire continues to be discovered, read, and celebrated. mankind from God. In "Destruction," the speaker claims that by following the desires that "the Demon" introduces into his consciousness, he is lead away from "God's regard." The speaker in "St. Peter's Rebellion" criticizes God for ignoring humanity's suffering. "The Irremediable" describes mankind as "fallen / ... far from the eye of heaven." Mankind's separation from God is explicitly described in "Satan's Litanies," where the speaker proclaims Satan the "Adoptive father to those an angry God / the Father drove from His earthly paradise." However, mankind experiences a painful and constant yearning to be close to God, as the poem "Guiding Lights" expresses. This poem describes the scenes of suffering depicted in a group of famous paintings. The speaker then addresses God directly, claiming that such art is humanity crying out for God. It is "the best evidence / that we can offer of our dignity, / this sob that swells from age to age and dies / h Characters Satan Trismegistus Satan Trismegistus is alluded to with various names throughout the text, such as Satan, the Devil, and the Demon. Baudelaire believed that the world and mankind had "fallen" from God's grace and that mankind was controlled by an external evil force. By giving this evil force the name "Satan Trismegistus," Baudelaire invokes Trismegistus, the legendary originator of the protoscience of alchemy, which was concerned with the purification of substances and the search for an elixir of eternal youth. Satan's interference with humankind is thus likened to an alchemical practice. Many of the poems in the text are concerned with mankind's fallen situation and humanity's close relationship with Satan and exile from God. These include "Destruction," wherein the speaker explains that a Demon fills him with "sinful cravings never satisfied," and "Satan's Litanies," where the speaker praises Satan as the "Adoptive father to those an angry God / the Father drove from His earthly paradise." Copyright © 2019 Course Hero, Inc. out on the shore of Your eternity!" The Flowers of Evil Study Guide Characters 7 Full Character List Character Description Satan Trismegistus First mentioned in "To the Reader," Satan Trismegistus is the demon or devil that controls the thoughts, desires, and ultimately the experiences of mankind. Trismegistus is the name of the legendary originator of alchemy, the medieval pseudoscience who sought to turn lead into gold and to discover the substance that would grant eternal youth. God Achilles Andromache Antiope The speaker of "Jewels" refers to his lover as Antiope, the legendary queen of the Amazons. In ancient Greek myth, the Amazons are a fierce tribe of female warriors. Some legends describe how after the Amazons are defeated in their invasion of Greece, the Greek hero Theseus marries Antiope. Circe The speaker in "Travelers" says that some of his companions travel because they are fleeing Circe, a figure from the ancient epic poem the Odyssey, attributed to the Greek poet Homer and written down c. 725–675 BCE. The Odyssey recounts how the enchantress Circe lures men to her island home with her haunting singing; then she offers them wine that turns them into pigs. Daedalus The speaker of "The Swan" compares the displaced swan to Daedalus, a figure from ancient Greek mythology. Daedalus is best known for enduring the death of his son, Icarus. To escape their imprisonment on the island of Crete, Daedalus, a skilled craftsman, builds wings of wax and feathers. Icarus falls to his death because the wax of his wings melts when he flies too close to the sun, contrary to Daedalus's warnings. Delphine "Damned Women: Delphine and Hippolyta" recounts the exchange between two female lovers, Delphine and Hippolyta, who have just made love for the first time. Delphine is portrayed as experienced, even predatory, in contrast to Hippolyta's innocence. In ancient Greek myth, Delphine is a halffemale, half-serpentine monster. Electra In "Travelers," the voices luring the traveler onward promise him he will be reunited with Electra, a character from ancient Greek drama. Electra and her brother Orestes conspire to kill their mother to avenge their father's death at their mother's hands. God is first mentioned in "Consecration" as the "sovereign powe[r]" who orders that the Poet be born into a world that scorns him. In classical Greek literature and legend, Achilles is the heroic Greek warrior who fights in the Trojan War. The Trojan Women, a play by Greek dramatist Euripides (484–06 BCE), recounts how after Achilles kills the great Trojan warrior Hector, Andromache's husband, Andromache is passed to Achilles's son Neoptolemus to be his concubine. The speaker of "The Swan" describes how Andromache, in the middle of her grief over losing her home and family to war, is "dragged off / to be the booty of Achilles' son." The speaker of "The Swan" directly addresses Andromache, a figure from ancient Greek and Roman literature. As a result of the Trojan War, Andromache experiences the deaths of her birth family and her husband as well as the destruction of her home, Troy. The survivors of Troy later rebuild a replica of their lost home, complete with a replica river: the "false Simoïs" alluded to in "The Swan." The speaker of "The Swan" invokes Andromache to compare her legendary loss and grief to his sense of having lost Old Paris to the extensive renovations of urban planner Georges-Eugène Haussmann (1809–91). Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide Fury Paul Gavarni Hector Helenus Hippolyta In "Damned Women: Delphine and Hippolyta," the virginal Hippolyta experiences an awakening of homosexual passion. She describes her lust as a Fury's torch burning within her blood. In ancient Greek myth, the Furies are goddesses of vengeance. They are depicted as having the horrifying appearance of snake-haired women. The speaker in "The Ideal" expresses disdain for feminine beauty as depicted by the French painter Paul Gavarni (1804–66), to whom he refers as "anemia's laureate." The women in Gavarni's art are "sallow blossoms," superficial and weak beauties who cannot satisfy the speaker's desire for an intensely passionate and ambitious "rose" of a woman. The great Trojan warrior of Greek legend, Hector, is mentioned in "The Swan." Hector is killed during the Trojan War by the Greek warrior Achilles. His widow, Andromache, to whom the poem is addressed, marries Hector's brother Helenus before being given to Achilles's son as a concubine. Helenus is mentioned in "The Swan." In ancient Greek legend, Helenus is the brother of Hector, the greatest of the Trojan warriors. After Hector is killed by the Greek warrior Achilles, Helenus marries Hector's widow, Andromache. In "Damned Women: Delphine and Hippolyta," Hippolyta processes the horror she feels after the loss of her virginity through sex with another woman, Delphine. In ancient Greek myth, Delphine is a queen of the Amazons, an all-female tribe of warriors. The theft of Hippolyta's girdle is one of the 12 labors given to the great hero Hercules to atone for the murder of his family. Plot Summary 8 Lady Macbeth The speaker of "The Ideal" names Lady Macbeth as an example of a woman who fits his ideal. Murderous, ambitious Lady Macbeth is a primary character from English writer William Shakespeare's (1564–1616) play Macbeth (written 1606–07). Michelangelo The speaker of "The Ideal" mentions the sculpture Night, by enormously influential Italian Renaissance artist Michelangelo (1475–1564). The speaker says his ideal woman could resemble the androgynous "Night," who appears heroic even as she sleeps. Orestes The voices that lure the travelers onward in "Travelers" speak directly to Orestes, a character from classical Greek drama. Orestes conspires with his sister Electra to kill their mother to avenge their father, whom their mother had murdered. Pylades The voices that lure the travelers onward in "Travelers" promise a reunion with Pylades. In classical Greek drama, Pylades is the friend of Orestes, who is condemned by the gods after murdering his mother. Wandering Jew In "Travelers," the speaker describes the various ways that mankind seeks to evade the enemy, "Time." One way is to engage in endless wandering, like the Wandering Jew. The Wandering Jew is a legendary figure who allegedly wanders the earth after being condemned to eternal life for mocking Jesus Christ en route to his crucifixion. k Plot Summary To the Reader Victor Hugo "The Swan" is dedicated to the French writer Victor Hugo (1802–85). Due to the political conditions in France, Hugo lived in exile from 1851–70. This may be why Baudelaire dedicates this poem, with its focus on the experience of exile and loss, to fellow writer Hugo. Copyright © 2019 Course Hero, Inc. The poet-speaker blames the "cunning alchemist" Satan for filling humanity with vice. Humanity then follows this vice, gladly, down to hell. The worst monster in the "squalid zoo" of vice is Boredom, which "would gladly undermine the earth / and swallow all creation in a yawn." The Flowers of Evil Study Guide Spleen and Ideal Plot Summary 9 (Flemish artist Peter Paul Rubens [1577–1640]; Italian artist, engineer, and scientist Leonardo de Vinci [1452–1519]; Dutch artist Rembrandt van Rijn [1606–69]; Italian artist Michelangelo Consecration di Lodovico Buonarroti Simoni [1475–1564]; French sculptor Pierre Puget [1620–94]; French painter Antoine Watteau [1684–1721]; Spanish artist Francisco Goya [1746–1828]; and Though mocked and abused by humanity, the poet-speaker French artist Eugène Delacroix [1798–1863]), the poet-speaker knows God has set him "a place apart." His suffering will make tells God these images each manifest "this sob that swells him fit to "weave [his] mystic crown" of "primal" light, which from age to age and dies / out on the shore of Your eternity!" makes the world seem "only a mournful mirror, a darkened This is the "best evidence" of humanity's dignity. glass." The Albatross The Sick Muse The poet-speaker addresses the mute, traumatized muse. It is The poet-speaker is like the albatross, the giant bird who is her "Christian bloodstream" that fills her with "horror, with "monarch of the clouds" yet "exiled on the ground, hooted and madness," while in the past, the "steadfast" and "copious jeered." His strength and power limits him, like the albatross Classical vein" kept her healthy. who "cannot walk because of his great wings." Elevation The Muse for Hire The poet-speaker suggests to the unemployed muse that, The poet-speaker urges his spirit to leave behind the "futile" since she cannot find work inspiring artists, she hire herself out and "dim existence" of the world and ascend in "flight, to the Church or prostitute herself to a "tired businessman." unchecked." Thus he will find happiness through understanding the true nature of reality. The Bad Monk Correspondences Back when "Christ was the Master," the poet-speaker, like the other monks, sought Christ by "glorifying Death." He wonders Nature is a "forest of symbols," messages that are the echo of when his life will manifest the promises that Christ symbolized. the infinite realm. These echoes blend into "deep and shadowy unison," bringing pleasure to mankind who must decipher them. The Enemy 'I Prize the Memory ... ' The poet-speaker explains that the tumultuous seasons have damaged the garden of his life. He hopes for "new flowers," but The poet-speaker longs for a bygone era when humanity lived Time, "the hidden enemy," fertilizes itself by "feed[ing] on the in power and pleasure, in harmony with the gods. Now, humans blood we lose." are ugly wretches who worship the god Utility. Despite this situation, humanity still worships "sacred youth / ... unconscious as a singing bird, / a flower, or the blue sky's Artist Unknown radiance." In an empty churchyard, the poet-speaker hears his heart Guiding Lights After describing a series of paintings by famous artists Copyright © 2019 Course Hero, Inc. beating, "a muffled drum." He laments the beauty—the poetry and the scent of roses—created in sorrow and left unnoticed. The Flowers of Evil Study Guide Plot Summary 10 Previous Existence diabolical ambitions. The poet-speaker once lived in a "majestic" castle by the sea Giantess where he spent his days being fanned by naked slaves. The slaves sought to understand "the secret torment" that made him sick. The poet-speaker imagines living "when primal Nature teemed / with monstrous progeny," and mating with a giantess. He describes her body and emotions in terms of natural Gypsies on the Road phenomena. The poet-speaker describes how the "prophet-tribe with Jewels burning eyes" wanders toward death. Nature and the gods respond, blooming and blessing the places where they pass. The poet-speaker describes having sex with his "darling." She is naked except for "her jewels," which make "jingling music ... / Man and Sea whose sound is a synonym for light." Man and the sea are "implacable brothers and eternal foes," The Mask: Allegorical Statue in the Style both full of secrets. The sea shows the poet-speaker his soul reflected and sometimes relieves his mundane suffering. Impenitent of the Renaissance The poet-speaker is shocked to discover the statue of a woman he views has two heads. The "teasing glance" he admires is "merely a mask," while the actual face is "contorted Don Juan, the legendary figure known for his adventure and in ... misery" with the burden of living. seductions, enters the underworld by river. Those who know him clamor for his attention, but he ignores them, watching the water. The Punishment of Pride Hymn to Beauty The poet-speaker tells Beauty it doesn't matter if she comes from Satan or God, as long as she "reveal[s] / the Infinite [he] love[s] and [has] never known." The poet-speaker describes how a Church father, full of "Satanic pride," boastfully insults Jesus. He loses his reason and goes mad. Beauty By Association Breathing his lover's fragrance, the poet-speaker is transported by a vision of "some paradise." It is "an idle isle where Nature grants to men / ... the rarest trees, the ripest Beauty describes herself as an "unguessed sphinx" who fruit." compels the poets to brood and to love. To enslave them, she "freeze[s] the world in a perfect mirror: / the timeless light of [her] wide eyes." The Ideal The Head of Hair The poet-speaker addresses his beloved's hair. Its "tousled current" transports his soul. Diving into this "ebony sea," his "restlessness / will find a fruitful lethargy at last." The poet-speaker rejects the "sallow" norms of beauty and femininity, describing his ideal woman as a "rose ... red" with Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide Plot Summary 11 'Urn of Stilled Sorrows ... ' The Vampire The poet-speaker addresses a woman as an "Urn of stilled The poet-speaker curses his lover, for she has obsessed him. sorrows." He worships her like she "were the dome of night His attempts at suicide have not ended his "enslavement" to itself," and esteems her for her "cold disdain." her. 'You'd Sleep with Anyone ... ' Lethe The poet-speaker chastises and celebrates his "Queen of The poet-speaker cries to his lover that he longs for the Sins" for her sexual indiscretion and unawareness, which oblivion of "the abyss that is [her] bed." The title translates as Nature gives her, perhaps, "to breed a genius." "Oblivion." Sed Non Satiata 'I Spent the Night ... ' Condemning his lover as a "slattern deity" for her evil sexual The poet-speaker, sleeping beside "a gruesome Jewish powers, the poet-speaker admits he prefers them to other whore," dreams of his "cruel queen." Her "memory wakens drugs for their ability to "slake [his] thirst." The title translates [him] to love once more." as "Never Satisfied." Posthumous Regret "Even When She Walks ... ' The poet-speaker tells a woman that after death she will regret The poet-speaker describes "the sterile woman's icy majesty." not knowing life's value. She has a "strange symbolic nature where / angel and sphinx unite." As If a Serpent Danced The Cat The poet-speaker compares the cat he pets to his mistress. Both have gazes "cold and deep ... / ... like a stab of pain." The poet-speaker praises his beloved. The ship of his soul sails on the "unfathomable sea" of her hair. When she walks, "it looks as if a serpent danced / in rhythm to a wand." Duellum Addressing his "heartless Amazon," the poet-speaker Carrion describes their lovemaking as warriors' combat in Hell. He bids her help him "keep our hatred's fire perpetual." The title The poet-speaker tells his beloved she will one day be like the translates as "Duel." rotting corpse they once encountered. The Balcony De Profundis Clamavi Recalling the "evenings on the balcony, pink mist / rising," and The poet-speaker cries out to God, burdened by life. Time the "endless kisses, promises, perfumes" they once shared, the drags slowly in this world, a "wasteland naked" below the "cruel poet-speaker pleads for the return of his "Mother of memories, ... / sun of ice / and darkness." The title translates as "Out of absolute mistress." the Depths I Cry." Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide Plot Summary 12 Possessed The Living Torch Calling her the "moon of my life" and "Lovely dagger," the poet- The poet-speaker praises his lover's eyes as a "living torch." speaker urges his lover: "be what you will." Regardless of how They "lead to Beauty" and "sing [his] soul's awakening." The she acts, "each nerve of [his] trembling body cries: / 'Dear poet credits the poem "To Helen" (1831) by American writer Demon, with this I thee worship!'" Edgar Allan Poe (1809–49) for inspiration. A Phantom Against Her Levity During lonely, painful nights the poet-speaker remembers his The poet-speaker describes his lover. Her "motley" mind dead lover. Her jewelry adorned her body like a frame prompts his cry, "all I loathe / is one with all I love!" Coyly he completes a painting. Even "disrespectful Time" cannot erase threatens her: "I'll inject / my venom into you!" her memory. Reversibility 'Suppose My Name ... ' The poet-speaker describes shame, hate, death, and fear to a The poet-speaker tells his beloved that he writes his poems for woman who embodies their opposites. She is "so radiant with her. She has been "scorned / by all," yet his poetry will "make life" that he requests her prayers. [her] memory / echo the way archaic legends do." Confession Semper Eadem Addressing an "indulgent lady," the poet-speaker recalls how The poet-speaker tells his lover she can't understand that his once, by moonlight, she confessed her despair. moodiness is just "the ordinary pain / of being alive." He longs to "sink / into the silent fiction of [her] eyes," the "only lie that comforts [him]." The title translates as "Always the Same" or Spiritual Dawn "Never Changing." The poet-speaker tells his "Beloved Goddess," that "fallen man, who suffers and dreams on," sees the eternal in the sky. For Altogether him, her "lucid image" is the "phantom" who "triumphs like the immortal sun!" The Devil asks the poet-speaker to choose his favorite part of his lover's body. He replies that her form, which fuses his senses, is too harmonious to be divided. Evening Harmony The poet-speaker describes the evening harmony of flowers, 'What Will You Say Tonight ... ' violin, and sky as a "languorous waltz that casts a lingering spell!" His heart burns with his beloved's image. The poet-speaker's "long-since-withered-heart" is renewed by his beloved's "sudden grace." She is "the Guardian Angel, Madonna, and the Muse," whose "spirit dances like a torch." The Flask When an old flask of perfume is opened, a "returning soul" may leap out. In this way, the poet-speaker will "testify" after his death to how his lover's "virulence" poisoned him. Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide Plot Summary 13 Poison Autumnal The poet-speaker tells his lover that no drug equals her poison, The poet-speaker dreads the coming winter, which will which compels his dreams and "infects / [his] soul until it sinks "repossess [his] soul / with rage and outrage, horror, / unconscious on the shores of death!" drudgery." He begs his lover to "be the fleeting warmth / of a sumptuous autumn or a setting sun." Overcast To a Madonna: Ex-voto in the Spanish The poet-speaker addresses a "dangerous woman" whose eyes and mood change like the sky and seasons. He wonders if his love will "discover pleasures sharper than iron and ice" when her "killing frost" comes. Taste The poet-speaker will build "an altar hidden in the heart of [his] despair" for his mistress. He will clothe her in his poetry and pierce her heart with swords of sin. An ex-voto is "a votive Cat A cat in the poet-speaker's mind addresses him. Looking within, he finds the cat's eyes watching him. offering" that expresses a vow or desire. Song for Late in the Day The poet-speaker hopes the "blessed sorcery" of his lover's The Fine Ship The poet-speaker tells a young woman, "I want to paint your beauty for you / in which the woman merges with the girl." touch will "explode ... / this black Siberia" within him. Sisina The poet-speaker compares courageous, fierce Sisina to Invitation to the Voyage Diana, Greek goddess of the hunt. Sisina, however, is kind and loving, too. The poet-speaker asks his beloved to "imagine the magic / of living together ... / ... where even the landscape resembles you." He repeats "all is order there, and elegance / pleasure, peace, and opulence." To a Creole Lady The poet-speaker knows a graceful lady who lives on an island. Should she ever come to Paris, she would enslave the poets The Irreparable The poet-speaker, a "fallen warrior," asks a "lovely witch" if she can destroy "implacable Remorse." He has seen "a creature made of light / defeat Satan himself," but fears "No creature made of light will come to [him]." "more humbly than [her] blacks." Moesta et Errabunda The poet-speaker asks a lady if she, like him, seeks to escape the city and travel a "virgin sea" to a faraway "fragrant paradise." This paradise is so far, the speaker wonders, "what Conversation (One Side) plaintive cries can ever call it back." The title translates as "Grieving and Wandering." The poet-speaker tells Beauty, "scourge of souls," that his heart is "mauled by women's weapons." He asks her to eat what remains. Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide Incubus Plot Summary 14 despair." The subtitle refers to German composer Ludwig van Beethoven (1770–1827). The poet-speaker tells his lover he will come "from the shadows" while she sleeps to caress her like "a snake crawling / round an open grave." Thus he will use fear to control her. The title refers to "an evil spirit that lies with people in their sleep." Burial The poet-speaker tells his lover one day her "gorgeous body" with its "unconsecrated head" will be thrown out with the garbage while wolves howl and "the coven gathers." Autumn Sonnet The poet-speaker tells his lover to "Stay / lovely and keep still!" His heart's "secret pact with Hell" will remain hidden as "Love in ambush" waits to destroy them. A Fantastic Engraving Death rides his "apocalyptic nag," who "trampl[es] Infinity with reckless hooves!" Bearing a "flaming sword," he "inspect[s] his domain," the "unending graveyard" of history. Sorrows of the Moon The poet-speaker describes the moon as a sleeping woman. Should a tear fall, the poet will catch it "like a shard of opal" and hide it within his heart, far from the sun. The Happy Corpse The poet-speaker urges the crows and worms to eat his "soulless body." He wants a grave in rich soil where he may "sleep in peace." Cats Cats, too proud to be Hell's messengers, are transformed into sphinxes when they sleep. Their loins are magic and their eyes full of "golden specks like infinitesimal sand." Owls Owls, meditating "like alien gods," teach humanity "to shun ... / motion and commotion." Becoming "impassioned by passing shadows" leads to man's undoing. The Pipe The poet-speaker's pipe describes how it relieves his master's despair: "I wrap his soul in mine ... / within a blue and fluctuating thread" of smoke. Music: Beethoven The poet-speaker describes how "Music often takes [him] like a sea." He sets sail over the waves, knowing a wreck is coming, though "dead calm" shows in "the looking glass / of [his] Copyright © 2019 Course Hero, Inc. The Cask of Hate The poet-speaker describes the infinite nature of hatred, which "cannot even drink himself to death." The Cracked Bell The poet-speaker's soul is a cracked bell, whose lament sounds like the final breath of a dying soldier. Spleen (I) While the poet-speaker is at home playing cards on a gloomy February day, the surroundings reflect his grim, uncomfortable mood. Spleen (II) Like a graveyard or an old boudoir, the poet-speaker is full of secrets. Death will come, but only after "Boredom ... / gains the dimension of eternity." The Flowers of Evil Study Guide Plot Summary 15 Spleen (III) The Irremediable The poet-speaker is like "the king of a rainy country," sickly and A series of images of torment and chaos symbolize bored by everything. Even his alchemist cannot help him, for "irremediable Fate, / proving how consummately / Satan the waters of oblivion fill his veins. consumes his own!" Within the heart burns the "graceful torch of the Devil," which is "our solace and sole glory— / Spleen (IV) When the weather is oppressively gloomy, Dread defeats consciousness in Evil." The Clock Hope, whose funeral occurs within the poet-speaker. Time, symbolized by the "Impassive god" of the clock, steals Obsession happiness and urges remembrance. The Now is always already past. "The law" deems that "Time, that tireless gambler," always wins. The poet-speaker complains of his discontent to the forest, the ocean, and the night, each of which mirrors his spiritual damnation. Craving for Oblivion Parisian Scenes Parisian Landscape The poet-speaker tells his mind to lie down and give up. He asks the avalanche to "entomb" him. The poet-speaker joyfully describes his "garret view" between the city and the "blue eternity" above. Nothing will stop him from his "almost carnal joy" of "drawing the sun from [his] Alchemy of Suffering The alchemist devil makes the poet-speaker a "Midas in reverse," who turns gold to iron and heaven to hell. heart" and "persuading Paris to become a South." The Sun In this "cruel season" the poet-speaker searches the city for Sympathetic Horror inspiration. He praises the sun for "ripening" verses, "persuad[ing] the lame to dance," and "command[ing]" plants The poet-speaker describes how nature reflects and embodies to grow. The sun, like the "poet's will," makes "the fate of all his torment and suffering. things vile ... glorified." Heauton Timoroumenos To a Red-Haired Beggar Girl Describing himself as "a dissonance / in the divine accord," the The poet-speaker watches a girl beg for kitchen scraps. He poet-speaker describes how he torments himself: "I am ... / praises her tattered beauty and imagines her in the position of hangman and victim both!" He is "doomed" for eternity "to a rich woman. laugh—but smile no more." The title references the play SelfTormentor by Roman dramatist Terence (c. 195–c. 159 BCE). The Swan The poet-speaker walks through newly renovated Paris, and memories of the old town flood him. His memory of a swan, Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide filthy, escaped from its cage, and looking "as if [it] were castigating God!" serves as an emblem of exile and loss. This is Plot Summary 16 Gamblers the first of a series of poems dedicated to French writer Victor The poet-speaker is jealous of the gamblers for being Hugo (1802–85). "ravenous to prefer / pain to death, and hell to nothingness!" The Seven Old Men Dance of Death Seven identical, hostile, ancient men pass the speaker on the The poet-speaker describes Death as a woman, whose street. His dread sends him fleeing home to contemplate these "hunger ... / compels [her] to our human carnival." He criticizes "monsters" who seem to have "eternal life!" ignorant humanity for scorning ever-present Death. The Little Old Women Love of Deceit The poet-speaker derives a secret pleasure as he trails the The poet-speaker admires a young woman dancing, not caring "little old women" of Paris, imagining these forgotten, wizened if her beauty is only superficial: "What if you are stupid or crones as they were in the beauty of their youth. This poem indifferent? / Mask or sham, your beauty I adore." ends the series dedicated to Victor Hugo. Blind Men 'I Have Not Forgotten ... ' The poet-speaker remembers the shabby little house where he The poet-speaker, unnerved by blind men, compares their and his beloved once shared "long silent meals" elegantly lit by "infinite dark" to "the eternal silence." the sun. In Passing 'You Used to Be Jealous ... ' The poet-speaker, passed in traffic by an attractive woman, is The poet-speaker pities the dead. Neglected by the living, they reinvigorated by their brief eye contact. It signals a shared are left to bear the seasons and their sorrows alone. Should his knowledge that they "might have loved" one another. childhood nurse return to life to behold him, he wouldn't know how to console her as she wept. Skeleton Crew Observing anatomical drawings of the human body, the poet- Mists and Rains speaker laments how humanity is condemned to suffer and toil In the cold, rainy seasons, the poet-speaker's soul "spread[s] even after death. her raven wings" while the heart, frozen, is "Filled with dead and dying things." All is still, except for the shadow when Twilight: Evening making love. When evening comes, the "foul demons in the atmosphere" go Parisian Dream to work. "Whoredom invades," gambling and thieving commence, and the soul is most prone to leaving the body. In the poet-speaker's dream-world, "from within / each thing was luminous!" and full of "the silence of the Void." Waking returns him to the "curse of all [his] cares." Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide Twilight: Daybreak Plot Summary 17 Flowers of Evil When day comes, "the air is tremulous with escaping things, / and Man is tired of writing, Woman of love." Paris, "old drudge rubbing its eyes," begins its daily labors again. Destruction "The Demon" fills the poet-speaker with "sinful cravings never Wine satisfied." Leading him away from God into "the vast / barrens of Boredom," the demon then "hurls" at the speaker "open wounds ... / and all Destruction's bloody bag of tricks!" The Soul of the Wine A Martyr: Drawing by an Unknown Wine urges humanity to imbibe, promising happiness. Wine hopes that man will drink so that "the poetry born of our love will grow / and blossom like a flower in God's sight!" Master A drawing of a beheaded young woman sprawled naked on a bed "reveals love's darker side." The poet-speaker urges the Ragpickers' Wine corpse to "sleep in peace," for the lover who murdered her "will be constant too, / and faithful unto death." A group of drunken ragpickers is transformed before the poetspeaker's eyes into a triumphant army "march[ing] in glory past a cheering mob!" He notes that wine "rules by what it gives, as true kings do." Lesbos The poet-speaker is "chosen ... among all men" to "sing the secrets" of Lesbos, the island of lesbian love. He rejects The Murderer's Wine traditional morality and mourns the death of "virile Sappho, the lover and the poet" of the island. The murderer confesses he killed his wife out of "True Love." He is always thirsty, but now he is happy, for he is free to drink until he dies. Damned Women: Delphine and Hippolyta The Solitary's Wine The poet-speaker praises "my Bottle," the best remedy for "the worshipful poet's ever-thirsting heart." He asks his bottle for "pride, the beggars' treasure," exclaiming, "we shall be as gods!" Lover's Wine The poet-speaker urges his lover to "mount the wine and set off" with him for "the Paradise of [his] dreams!" Hippolyta chooses to continue being Delphine's lover though she knows such wickedness will doom her. Delphine tells her love and morality cannot coexist. Hippolyta, horrified by her own emptiness, longs for annihilation in Delphine's arms. A poet-speaker urges them to continue their chosen path toward hell: "flee / the infinite you bear within yourselves!" Damned Women After describing lesbian romance, the speaker expresses love and pity for lesbians, "for [their] unslaked thirsts, / and for the love that gorges [their] great hearts!" Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide Plot Summary 18 The Two Kind Sisters Eros and the Skull: An Old Colophon The poet-speaker asks Death and Debauch, "two friendly girls" Eros (romantic love) sits atop Humanity's skull blowing who give "terrible pleasures and appalling treats," when they bubbles, which release souls as they pop. The skull begs Eros will ruin him. to stop playing with its "very flesh / and blood" in this "callous, / ridiculous game." A colophon is "an inscription at the end of a The Fountain of Blood The poet-speaker feels his blood "slaking the thirst of every living thing / and dyeing all the world of nature red." Wine helps book." Rebellion this "wasting fear," but love merely "drains away [his] blood for whores to drink!" Saint Peter's Denial Allegory Noting God's indifference to human suffering, the poet- The poet-speaker praises a prostitute who "worships pleasure" He expresses a desire to leave this "world where action is no and gives her body as a gift which "pardon[s] ... all infamy." She kin to dreams." speaker addresses Jesus, pointing out how God betrayed him. will die with a pure soul. Abel & Cain Even She Who Was Called Beatrice By Many Who Knew Not Wherefore The speaker describes the blessings of the Race of Abel and the suffering of the Race of Cain. Urging a reversal, he implores the Race of Cain to "Rise up ... / and cast God down A cloud of imps calls the poet-speaker an "artistic sham" for upon the earth!" his "attempts to interest eagles [and] ... / even flowers and fountains in his ranted woes." He cannot ignore this mockery when he realizes his beloved is participating. Satan's Litanies Calling Satan the "Adoptive father to those an angry God / the Metamorphoses of the Vampire Father drove from His earthly paradise," the poet-speaker praises Satan for the powers with which he helps mankind. A boastful female vampire sucks the poet-speaker dry and then becomes a pus-filled sac. When day comes, there is nothing left of her but a piece of trash, "the wreckage of a skeleton." A Voyage to Cythera The poet-speaker goes to Cythera, the island home of Aphrodite, Greek goddess of love. There he finds his own body hanging from a tree, being ripped apart by wild animals. He asks God to help him bear the sight of his "body and [his] heart without disgust." Copyright © 2019 Course Hero, Inc. Death The Death of Lovers The poet-speaker imagines the death he will share with his lover. An angel will come unlocking doors, "bring[ing] / the tarnished mirrors [of their minds] back to life." The Flowers of Evil Study Guide The Death of the Poor The poet-speaker praises the "Angel of Death," who unburdens the living. Death is "the famous inn all guidebooks recommend / where we can count on lodging for the Night" and "the mystic granary of heaven, / purse of the poor and our inheritance." The Death of Artists The poet-speaker addresses death, who compels artists to make art. Filled with a "fatal longing," artists "sob" with their hope "that Death as it fills the sky like another sun / will make the flowers of their devising bloom!" Day's End The poet-speaker describes the poet's relief at death's coming. Day is like "insolent, noisy Life" which "squanders itself," while night, with its "replenishing darkness," is like death. A Strange Man's Dream The poet-speaker dreams he is dying. Full of hope, he enjoys the pain of "wrenching free from the usual world." However, death is nothing more than a "terrible dawn" that leaves the disappointed speaker "waiting still." The dedication refers to French writer, caricaturist, and photographer Nadar (1820–1910). Travelers Travelers search the world for the delights of their imaginations, but find only "the boring pageant of immortal sin." However, their lust for the new compels them onward, fleeing Time, beyond death. The dedication refers to French writer and photographer Maxime Du Camp (1822–94). Copyright © 2019 Course Hero, Inc. Plot Summary 19 The Flowers of Evil Study Guide c Poem Summaries The Flowers of Evil has 131 titled poems that appear in six titled sections. There is also one titled poem that precedes the six Poem Summaries 20 "hypocrite reader" is also self-condemnation, for in the closing line the poet-speaker calls the reader his "alias" and "twin." Analysis sections. For the purpose of summary and analysis, this guide addresses each of the sections and a selection of the poems. This poem is told in the first-person plural, except for the last stanza. There, the poet-speaker switches to the first-person singular and addresses the reader directly as "you," separating To the Reader the speaker from the reader. His tone is cynical, derogatory, condemnatory, and disgusted. Perhaps even more shockingly, he issues a strong criticism to his readership, yet the poet- Summary The first two stanzas describe how the mind and body are full of suffering, yet we feed the vices of "stupidity, delusion, selfishness and lust." Our moral hesitation or "scruples" amount to little in the face of such "stubborn" sins. In the third through fifth stanzas, the poet-speaker describes the cause of our depravity and its effects on our values and actions. The third stanza invokes the language of alchemy, the ancient, esoteric practice that is the precursor of modern chemistry. Satan Trismegistus is the "cunning alchemist," who becomes the master of our wills. As "the things we loathed become the things we love," we move toward Hell. We seek our pleasure by trying to force it out of degraded things: the "withered breast," the "oldest orange." speaker avoids totally alienating his reader by elevating this criticism to the level of social critique. He is speaking to the modern human condition, which includes himself and everyone else. The English modernist poet T.S. Eliot (1888–1965), who felt that the most important poetry of his generation was made possible by Baudelaire's innovations, would reuse this final line in his masterpiece, "The Waste Land" (1922). Satan Trismegistus appears in other poems in the collection. This is a reference to Hermes Trismegistus, the mythical originator of alchemy. Alchemy is an ancient philosophy and pseudoscience whose aims were to purify substances, to turn lead into gold, and to discover a substance known as the "Philosopher's Stone," which was said to bring eternal youth. Connecting Satan with alchemy implies that he has a transformative power over humans. The language in the third stanza implies a sexual relationship with Satan Trismegistus. The sixth stanza describes how this evil is situated in our This reinforces the ideas in the first two stanzas that we physical anatomy. A "demon demos," a population of demons, participate willingly in our suffering and damnation. Although "revels" in our brains. Our very breathing is the flow of the raised in the Catholic Church, as an adult Baudelaire was "Lethe in our lungs." In ancient Greek mythology, deceased skeptical of religion. However, he was not the souls entering the underworld crossed the river Lethe, the river Satanist—worshiper of evil—that some have made him out to of forgetfulness. This caused them to forget their past lives. be. In his correspondence, he wrote of a lifelong obsession with "the impossibility of accounting for certain sudden human In the seventh stanza, the poet-speaker says that if we are not actions or thoughts without the hypothesis of an external evil living lives of crime and violence, it is because we are too lazy force." or complacent to do so. He uses the metaphor of a human life as cloth, embroidered by experience. Buckram is a type of stiff The themes and imagery of this opening poem appear as cloth. Enterprise is the positive character trait of being eager repeated ideas throughout The Flowers of Evil. These include to undertake new, potentially risky, endeavors. sexuality, the personification of emotions or qualities, the depravity of humanity, and allusions to classical mythology and The final three stanzas speak of the creatures in the "squalid alchemistic philosophy. The imagery of a human life as zoo of vices." Boredom, which "would gladly undermine the embroidered cloth is an allusion to the three Fates, who appear earth / and swallow all creation in a yawn," is the worst of all in Greek mythology beginning in the 8th century BCE. These these "monsters." The poet-speaker accuses the reader of spirits were three old women, and their task was to spin the knowing Boredom intimately. Still, his condemnation of the cloth of each human life—as well as to determine its ending by Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide cutting the thread. Poem Summaries 21 shocked to find that the statue of a woman he is admiring has two faces: the contrived beauty of "subtle coquetry" and the Spleen and Ideal, Section Overview authentic beauty that weeps from the burden of life. As the poems continue, the tone of adoration and praise begins to mix with resentment and an awareness that beauty and love are always less than ideal. This reversal is striking in "Carrion" as the speaker describes to his beloved how one day Summary The first few poems in "Spleen and Ideal" explore the poet's situation and the task he faces. "Consecration" and the "The her body will become a rotting corpse. "De Profundis Clamavi," Latin for "Out of the Depths I Cry," reconfigures an important Catholic prayer to express the speaker's existential despair over the meaninglessness of life. Albatross" convey that the poet's special nature means he is The downward slide in the speaker's emotions and the tone of misunderstood and mistreated. At the same time, he is increasing darkness continues from here, often expressed destined to rise above to fulfill his divine mission. He must through motifs of autumn and day's end. The speaker becomes elevate himself as in his poetry he elevates the particulars of more concerned with his own pain and frustration than with the the finite world to the level of the infinite. This theme is beauty he finds in the outer world, which begins to reflect his underscored in "Elevation." The speaker urges his soul upward inner despair. A series of poems, "Sorrows of the Moon," "Cat," to claim the happiness of understanding "the language of "Owls," "The Pipe," and "Music" each center on a single entity, flowers and of all mute things." The fourth poem, describing its function with respect to the poet's situation and "Correspondences," explains the relationship between the the situation of humanity itself. finite and the infinite that it is the poet's task to uncover. The poem introduces the concept of synesthesia, the intermeshing With the four titular Spleen poems, the section reaches a place of the physical senses, which is the mark of the infinite upon of complete preoccupation with ennui, self-destruction, and the finite. death. The speaker is aware that he is condemned by his very nature. "The Irremediable" describes man's singular "solace" The next few poems explore the relationship between the epic, and "sole glory" as the inward light granted him by the Devil, bygone past and the present. In "I Prize the Memory ... ," the which creates "consciousness in Evil." The final poem, "The speaker reminisces about the era when humankind was in its Clock," expresses the speaker's despair at the relentlessness full glory, before man began to worship the god Utility. In "The of Time, man's always victorious adversary. Enemy," time is presented as the great adversary through the metaphor of a garden passing through various seasons. Time puts pressure on the poet to complete his mission. It undoes Analysis not only each individual's life but also the collective existence of humankind. The poems in "Spleen and Ideal" explore the modern human condition using a framework of duality. The title of the section "Artist Unknown" explores the loneliness of the artist. The next refers to two opposing poles or modes of being and few poems, "Previous Existence," "Gypsies on the Road," and perception. Spleen is the limited, finite manifestation of the "Man and Sea," explore how the self and the Other mirror one dark emotions and of the separation of the self from the Other another as do the finite and the infinite. "Impenitent" and "The and from the infinite. The spleen, a body organ, was once Punishment of Pride" explore how man's fall from grace is thought to be responsible for a melancholic or depressive achieved through his own hubris, or arrogance. temperament. In contrast, ideal is the effusive mode of praise, Next comes a cycle of poems that explore the nature of beauty and romantic love, often through the lens of the speaker's ideal of beauty. In "Beauty," beauty herself explains that she is "made to prompt all poets' love" and she "freeze(s) the world in a perfect mirror." In "The Mask," the speaker is Copyright © 2019 Course Hero, Inc. adoration, joyful presence, and the merging of the self with the Other and the Infinite. Each poem in the section can be plotted somewhere along the spectrum that runs from Spleen to Ideal. Many of Baudelaire's poetic innovations were taken up by the The Flowers of Evil Study Guide Poem Summaries 22 modernist movement, whose heyday ran from the late 19th in the poem "The Irreparable." Poems like "Semper Eadem" century through the mid-20th century. Beside the fact that the express the need to remedy this ennui, whether through sex, poems explore the condition of mankind within modernity, a art, or ultimately, death. number of elements in this section are distinctly modernist. Many of the poems explore the meaning of poetry and art as A wealth of allusions (references) to classical and ancient art well as what it means to be a poet or artist. This speaks to the and myth gives the poems their own mythic quality. In poems modernist idea that artistic and literary form can express ways like "The Mask," which uses art and myth to express individual of knowing and understanding life. Reflexivity, the self- subjective experience, Baudelaire expresses the precarious conscious mirroring of poetry and the poet within the poem is a nature of human existence. This is further underscored by the modernist device found in "Consecration," "Elevation," emphasis on the external forces—Satan, Time, and Death, for "Sorrows of the Moon," "Beauty," and other poems. example—which always constrain the individual. Even though the outer world is made to mirror the speaker's inner These poems embody Baudelaire's modernist conviction that subjectivity, this reflection is ultimately insubstantial, fleeting, art exists for its own sake, to create beauty that gives and illusory—something the modern poet-speaker of these pleasure—not to teach the reader a moral lesson. This idea is poems is well aware of. In "Man and Sea," the speaker made explicit in "Hymn to Beauty" when the speaker describes how the eternal battle between the individual finite addresses Beauty personified: "Who cares if you come from Man and the infinite Sea sometimes pauses, giving way to a paradise or hell, / appalling Beauty ... / if only your eyes, your brief solace for Man: "his heart / [is] sometimes diverted from smile or your foot reveal / the Infinite I love and have never its own dead march / by the tides of that untamable known?" Another very modernist characteristic of the poems is complaint." their lack of "representational verisimilitude." That is, they are not concerned with representing reality in a familiar way. The speaker's awareness exists in the bygone eras of antiquity as Spleen and Ideal, Consecration much as in Baudelaire's present, and abstract qualities such as beauty, horror, and boredom are personified—made into agents capable of acting with intention. As much as the poems express features of the human condition, they are also intensely centered in individual subjective experience. The reader is invited into the speaker's imagination and given passage through his emotional landscape as well as made witness to his deepest desires and fears. This subjectivity is characteristic of the aestheticism and decadent literary movements that Baudelaire was part of as well as of the modernism that followed. A primary feature of this inner landscape is ennui, a French term that is rendered in the English as boredom. Ennui is the hallmark affliction of modern man. It is world-weariness, a despairing detachment from life, whose root is meaninglessness. In a society of plenty, the need for individuals to ensure group survival by adhering to tradition and the dominant social order recedes. Thus the modern individual is free to seek his own pleasure and self-understanding and his own understanding of life rather than accept received Summary This poem describes the entrance of the Poet into the world, his reception by other people, and his divinely mandated task. The first five stanzas describe the Poet's mother's reaction to his birth in the form of reported speech. She curses God and the "paltry pleasures of the night" that have brought her this "stunted freak" to raise. She vows that she will use hatred to impede his progress since she cannot outright kill him. Her hateful scheming shows how she is "blind / to operations of the eternal plan." The next two stanzas describe how the Poet is cared for by the Angel or Spirit that "attends his pilgrimage." Because of this protection, the Poet sees divinity in the world around him and engages with nature intimately, "happy as a bird." The next two stanzas describe how people in general abuse him, attempting to provoke him into suffering "since he offers no resistance." meanings from tradition and authority. This freedom can be experienced positively, as in "The Ideal" and "Invitation to the The following four stanzas describe the attitude of the Poet's Voyage," but it can also bring on the despair of ennui, as seen wife. She publicly declares that she will trap him with his Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide Poem Summaries 23 adoration for her, "as if a sparrow trembled in [her] fist," and closing lines, in which the Poet describes "mortal eyes" as "a then destroy him for the sport of it. mournful mirror, a darkened glass," alludes to a famous passage from the biblical Book of Corinthians. This passage The rest of the poem describes how the Poet rises above this lyrically describes the limited ability to see and know that is abuse by turning toward heaven and his heavenly visions. He characteristic of the human situation on earth. The passage thanks God for the suffering that is his destiny, because it reads, "For now we see through a glass, darkly; but then face "prepares / the strong in spirit for divine delights!" He to face: now I know in part; but then shall I know even as also I acknowledges that he must encompass all of am known." It is the Poet, Baudelaire suggests, who has the experience—even suffering—if he is to "weave [his] mystic ability, more than anyone else, to transcend the darkness that crown," which must be connected to "all time, all space." His glazes over humanity's spiritual sight. material will be the "pure light" that can only be imperfectly reflected in "mortal eyes," which are "a mournful mirror, a darkened glass." Analysis Spleen and Ideal, The Ideal Summary This, the second poem in the book, carries on the task begun in the text's opener, "To the Reader." Together, these two In the first stanza, the speaker expresses his rejection of a poems delineate the world of the text. Baudelaire, in his certain ideal standard of femininity. He is out of step with the defense at the trial over the charges of blasphemy and age as he is bored by such "insubstantial" women—these immorality leveraged at The Flowers of Evil, argued that the "belles in curlicues" whose worth is in their carefully cultivated poems are to be taken together as parts of a unified whole. "To physical appearance and demeanor. In the second stanza, the the Reader" and "Consecration" describe the two emotional speaker links such women to French artist Paul Gavarni poles of the text—the vice-driven, pleasure-seeking, ennui- (1804–66), who depicts them in his work. They are "sallow," or suffering mode and the blessed transcendent mode. These sickly pale, "blossoms." The ideal woman for his own dark, two modes correlate with the two metaphysical poles of the deep heart is more like a red rose—intense and powerful, text's world. "To the Reader" describes Satan as the driver of beautiful but thorny. He wants someone who resembles human experience, resulting in bodies and minds tormented ambitious, murderous Lady Macbeth, a character in the tragic with "stupidity, delusion, selfishness and lust." "Consecration" play Macbeth (written 1606–07) by English playwright William describes a segment of this world, that of the Poet absorbed in Shakespeare (1564–1616), or the androgynous, unique woman his task. He is apart from the Satan-mired masses; an Angel or depicted in Night, a sculpture by Italian artist Michelangelo Spirit guides him toward his special destiny. It should be noted (1475–1564). that suffering is a core feature of both emotional and metaphysical poles. In "To the Reader," the masses spur their own suffering gladly, "the way a beggar nourishes his lice." This contrasts with the Poet's conception of suffering as a gift, which he speaks in prayer in "Consecration": "Thanks be to God, Who gives us suffering / as sacred remedy for all our sins, / the best and purest essence which prepares / the strong in spirit for divine delights!" Analysis In his 1863 essay, "The Painter of Modern Life," Baudelaire wrote that the longing for the ideal preoccupies the unsatisfied mind. An art critic as well as a poet, Baudelaire wrote in response to the Salon of 1846 exhibition, "Thus the ideal is not the vague thing, that boring and intangible dream which swims "Consecration" is full of Christian references, but they are on the ceilings of academies; an ideal is the individual taken up recast within a narrative that centers around the Poet. He has by the individual, reconstructed and returned by brush or some Christ-like qualities, but he is neither Christ nor Savior scissors to the brilliant truth of its native harmony." For nor Saint. His heavenly reward is for him alone—he is "apart," Baudelaire, art (and beauty) arose where the specific, and his task concerns the creation of a transcendent beauty temporal, and current merged with the universal and that envelops all poles of experience and existence. The transcendent. This theory of art holds that it should merge two Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide Poem Summaries 24 sets of elements: the specific, temporal element and the "jewels." The "insolent harmonies" of their "jingling music" universal, transcendent element. Additionally, Baudelaire captivate the speaker because of their synesthetic quality: rejects the restriction of the quality of epic to classical and they are "objects whose sound is a synonym for light." ancient themes, insisting that the present too has its own quality of being epic, which the artist should seek and In the next three stanzas, the speaker watches his lover as emphasize. Each of these ideas is brought to play in "The they begin to have sex. Like a spectator, he describes her body Ideal." moving, comparing her to a swan and calling her body "that fruit on my vine." Finally, in stanza 6, the speaker admits that French artist Paul Gavarni, a contemporary of Baudelaire, was his lover's charms have succeeded in erasing his detachment. known for depicting ordinary people of his day. Baudelaire He can no longer be "aloof" or "serene." Even though he has uses Gavarni's depictions of women as emblems of incomplete become completely engrossed in the act of sex, his description beauty, implying that Gavarni fails to highlight the epic quality in stanza 7 remains that of the detached observer: "I saw a of the present. They are anemic and shopworn—weak and so boy's torso joined to Antiope's hips." The final stanza uses familiar as to be dull, lacking in the boldness, inventiveness, and imagery of light and fire to express the resolution of the sex depth that define Baudelaire's aesthetic ideal, both as it applies act. Orgasm is compared to a lamp that has gone out and then to art and to women. His ideal, by contrast, is red, suggesting to the "dying coals" in the fireplace. The intermittent play of the intensity and passion as well as blood. Italian Renaissance light of the glowing coals repeatedly "flush[es] that amber- artist Michelangelo's sculpture Night, although a depiction of a colored flesh with blood," suggesting the lingering currents of woman, exudes exaggerated androgyny or even masculinity. desire that fill the bodies of the speaker and his lover after sex. This is attributed both to the sculpture's muscular anatomy and contorting posture. This points to a commonality in the aesthetic positions of Michelangelo and Baudelaire. Like Analysis Baudelaire, whose poetry draws on antique and Classical sources to evoke atmosphere and themes that are thoroughly This poem was one of the poems banned in 1857 by a French modern, in his art Michelangelo creates a synthesis between a court and ordered removed from all editions of The Flowers of new kind of individual, psychological intensity and the elements Evil. The court ruled that the book, and the six banned poems of classical or antique art that his contemporaries were in particular, were obscene and harmful to public morality. Part imitating. of Baudelaire's defense was the argument that some of his contemporary writers had written more scandalous things Baudelaire's desire for a "flower of the South" refers to a then- without censure. The court was not convinced, and this poem popular idea about the opposition between Northern (Nordic) and five others were omitted from the text until 1949. and Southern (classical) cultures and the art they produced. This distinction was popularized by French-Swiss writer In his essay "The Painter of Modern Life," Baudelaire rejects Germaine de Staël (1766–1817). It held that the North embodied the natural as the root of beauty, claiming that the beautiful the uncertainty and unreality of dreams and imagination, while results from logical calculation. He goes on to link morality and the South embodied naturalism, with its qualities of clarity, aesthetics, claiming that evil arises naturally, but art produces precision, and intensity. good. This idea helps explain the significance of the women's bejeweled body in the poem. She has deliberately kept on her adornment instead of presenting herself fully naked to her Spleen and Ideal, Jewels lover. Indeed, for Baudelaire, adornment, in the form of makeup and fashion, was central to what a woman is (or ought to be). A woman should have "a magic and supernatural aura ... she must Summary In this poem, the speaker gives a detailed description of sex. The first two stanzas explain how the speaker is captivated by his "darling," who has removed her clothing but left on her Copyright © 2019 Course Hero, Inc. create a sense of surprise, she must fascinate; idol that she is, she must adorn herself, to be adored." This was a necessary part of fulfilling the female function, which was to master the hearts and minds of men. The jewels in the poem do just that, evoking all manner of sensory and cultural associations for the speaker. The Flowers of Evil Study Guide In this poem, there is an external movement between the Poem Summaries 25 compared to "a stately tomb." characters, running from foreplay through the consummation of the sex act. The speaker's internal shift is linked to this The alchemist he employs has no trouble creating gold but external movement as well as paralleled in the language of the cannot "purge the impure substance from his soul," which poem. At first, the speaker has an attitude of detachment, sickens the king. Blood baths, the ancient Roman remedy for a watching his lover and evaluating her movements distantly. He weak constitution, are of no avail. The young king's even admits that it is the jewels, the "objects," which attract his estrangement from his own life is part of his very body as "no interest, not any emotional feeling for her. His description of blood but brackish Lethe seeps" through his veins. In classical her movements is reminiscent of a critique of an art piece: "the Greek mythology, newly dead souls entering the underworld incorporation of candor into lust / gave new charms to her crossed the river Lethe, whose waters brought forgetfulness metamorphoses." At last, the speaker admits that his lover's and oblivion. body has succeeded in securing his emotional participation in the sex act. His soul is "dislodg[ed]" from its "rock-crystal throne / of contemplation." Analysis However, his language continues to suggest depersonalization; In this poem, the speaker describes an emotional and spiritual even when he has penetrated his lover, he sees them together condition of ennui. Ennui is the subject of many of these as if from another vantage point outside his body: "I saw a poems; one of its primary emblems or symbols is the spleen, boy's torso joined to Antiope's hips." The reference to Antiope, the bodily organ that ancient physicians attributed as the a queen of the all-female Amazon warrior tribe in Greek cause of a melancholic or depressive character. Ennui is the mythology, suggests that he, now "a boy," is understating the death of spiritual vitality in the presence of material power his lover has wrought over his body and soul. In the very overabundance. It is sometimes thought of as a side effect of last stanza, the depersonalization reaches its high point but is science and technological progress, which remove the sense applied to both characters. All references to the speaker and of mystery from life, as well as the need to struggle for his lover are now absent; there is only the image of a lamp and survival—both of which tend to create meaning. Ennui is not coals in the fireplace. This linguistic shift evokes the merging of just boredom; it is the absence of any feeling, save for an self and other, the disappearance of the ego with its individual anguished awareness of the meaningless and tedium of life. perceptions, concerns, and beliefs, that can temporarily arise Baudelaire, who was a keen observer of his era as well as a as a result of ecstatic experiences such as lovemaking. lifelong depressive, felt that ennui was endemic to modern life. Here, as in other poems in The Flowers of Evil, ennui is signaled by certain motifs: imagery of gloomy weather (the king Spleen and Ideal, Spleen (III) presides over a rainy country); death related-imagery (his bed is a tomb); and the reference to the river Lethe. Summary Baudelaire creates a unity between the past and the present by yoking the modern experience of ennui to an allegory about a feudal king. The allegory is full of anachronistic The speaker describes his ennui—his bored, despairing symbols—images that evoke a prior age. Alchemy, the detachment from life—by comparing himself to "the king of a pseudoscientific practice of manipulating substances in search rainy country." The poem elaborates on the nature of ennui of that which would bring unending youth, was founded on the through extended description of this imagined king. idea that material substances have spiritual characteristics. A This young king is "helpless, [and] decrepit," and "has no fun," despite his copious privileges and the numerous amusements available to him. The "royal invalid" cannot be distracted from his profound boredom, neither by the fool or jester employed to amuse him, nor by the attractions of the "ladies in waiting." His state of living death is underscored when his bed is Copyright © 2019 Course Hero, Inc. major occupation of alchemists was the quest to turn lead—thought of as being the least spiritually perfect metal—into gold, which possessed spiritual perfection. Viewed in this way, alchemy is an apt metaphor for the spiritual malady of ennui. With the increasing use of the scientific method in the 18th century, alchemy—as a practice and as a mystical way of viewing the world, transmitted from practitioner to practitioner The Flowers of Evil Study Guide Poem Summaries 26 for centuries—progressively lost credibility. Like the ennui- some other poems in The Flowers of Evil demonstrate plagued speaker of this poem, alchemy itself may be supernaturalism, the mode of being where man's self is considered a casualty of the modern drive for progress. ecstatically united with a universal presence, this poem (like others) explores the ironic mode. The use of allusions to a past era appears throughout the collection. The expression of the speaker's internal state with This consciousness engages in self-sabotage, causing man to an anachronistic allegory suggests a fusion or unity between do things that frustrate his most fundamental needs and the past and the speaker's present era. The use of this desires, his attainment of an ideal state. At the same time, man technique is understood in light of Baudelaire's definitions of is aware that he is self-sabotaging, yet this awareness does modernity and of art. In "The Painter of Modern Life," not keep him from being powerless to stop. This is why Baudelaire defined modernity as "the transient, the fleeting, the Baudelaire referred to mankind as "homo duplex," or divided contingent." Continuing, he expresses its place in art: "It man. A key aspect of this ironic consciousness is that the self- [modernity] is one half of art, the other being the eternal and sabotage results from the individual's pursuit of his own desire. the immovable." The Angel is drowning because it sought to satisfy its "love of chaos"; the ship was seeking a passage through the same ice Spleen and Ideal, The Irremediable that has now trapped it. Choice is not important here. That is why it is a matter of fate, which is "irremediable"—there is no remedy, no safeguard, and nothing to be done about the situation. This idea is expressed in another poem in The Flowers of Evil, "Destruction" ("Flowers of Evil" section), where Satan is described as the air the individual breathes: "each time Summary In the first part of the poem, the first stanza presents the situation of being fallen from the heavenly realm to the "Stygian morass," the swampy, hellish confusion of the world below. Four examples follow. They are emblems, or physical symbols, that embody the experience of being fallen: an "Angel, unwary pilgrim" struggling not to drown in a current; a "wretch" trapped in a witch's den, futilely seeking escape; a "soul in torment" descending into a gloomy cave populated by monsters; a ship that was pursuing a channel but has been trapped in ice. The speaker then declares that each of these emblems are representations of "irremediable Fate." This fate is the total destruction of all entities that are in the fallen world, which is Satan's realm. The second part of the poem asserts that the sole light in the I swallow, [the Demon] fills my burning lungs / with sinful cravings never satisfied." The ironic consciousness is Satanic in nature and takes place in Satan's realm, the world that is described as the "Stygian morass." In ancient Greek legend, the souls of the dead had to cross the river Styx (one of five underworld rivers, including Lethe, the river of forgetfulness) upon entering the underworld. The second part of the poem describes the structure of human consciousness and in so doing explains the existence of this ironic, Satanic consciousness. The human heart beholds itself as if in looking into a mirror of itself. This mirror is dark except for one light—the trembling, "pale star" of Satan. Baudelaire's original French words are phare ironique, infernal: an ironic, hellish lighthouse. Man cannot help but follow its signals as they are the only available guide, yet all the while man knows he is destined to wreck. "dark mirror" of the human heart is the "pale star" of the Devil. This "ironic, infernal beacon" is the evil that is the root of human consciousness. Parisian Scenes, Section Overview Analysis Baudelaire's theory of literature and human nature is based on two fundamental qualities: irony and supernaturalism. These are two aspects or modes of human consciousness. While Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide Summary "Parisian Scenes" opens with the poet discussing his task in "Parisian Landscape," this time in the context of place. There is an intimate connection between the garret view, which puts Poem Summaries 27 "Gamblers," the speaker observes the whores and artists in a casino. He envies their frenzied exchange of commodities, which protects them from the nothingness and the approach of death, which he himself feels. Death then appears as a woman in "Dance of Death." him between the city below and the infinite sky above, and his Midnight finds the speaker admiring the beauty of a dancing task of achieving harmony between himself and the world. In girl, not caring if it goes deeper than the surface or is just "The Sun," the sun that descends into the city becomes a "Mask or sham" in "Love of Deceit." The poems then plunge simile for the poet's consciousness. As it shines upon each into personal memory with "I Have Not Forgotten ... " and "You thing impartially, "the fate of all things vile is glorified." The Used to Be Jealous ... " The movement of deep night is concept of elevating what is degraded or vile carries into the mirrored by a movement into deep winter with "Mists and next poem, "To a Red-Haired Beggar Girl." The gaze of the Rains," and the speaker at last falls asleep. The reader is poet dresses a poor girl begging for food in a rich woman's invited into the speaker's sleeping mind in "Parisian Dream." He finery, then bids her to continue begging naked. Like the poet, is disappointed to wake from the fantastic world of his dream the beggar girl is a scavenger, depending on found scraps for where "neither sun nor moon appeared, / and no horizon paled sustenance (and meaning). In "The Swan," the poet strolls / to light such wonders—from within / each thing was through Paris, then undergoing extensive renovations. As he luminous!" moves inward into a reverie of allegorical memory, the image of a swan he once saw outside a now-demolished poultry market Night turns toward morning, and the poet's gaze flickers over takes on the weight of myth and becomes a symbol for all who the various scenes of Paris waking in "Twilight: Daybreak." The are exiled and have suffered loss. soul remains in the body, and vice retreats. The final image is of Paris personified as a laborer: "dingy Paris—old drudge The next few poems are borne of the poet's habit of studying rubbing its eyes— / picks up its tools to begin another day." "the charming refuse of humanity." He observes the grotesqueness of the people that move through Paris's streets. In "The Seven Old Men," the poet is deeply unsettled when he Analysis sees seven hostile, hideous old men appear one by one. In contrast, he takes delight in imagining the beauty at one time The concept of the flâneur, which embodies Baudelaire's possessed by the "travesties [that] were women once," the theory regarding how art arises from ordinary perception, is elderly, forgotten, and crooked-framed subjects of "The Little especially relevant to the poems in "Parisian Scenes." In his Old Women." essay "The Painter of Modern Life," Baudelaire describes the In "Blind Men," the poet is once again disturbed by the close connection he senses between these blind men's "infinite dark / and the eternal silence." Caught in a roaring swarm of traffic, time stands still when a moment of eye contact between the speaker and a statuesque woman passing by takes on deeper meaning in the poem "In Passing." This moment, filled with "the grace that beckons and the joy that kills," suggests the mode of observation and creation practiced by an artist of his acquaintance, M.G. (the French journalist Constantin Guys, c. 1802/05–92). The German literary critic Walter Benjamin (1892–1940), in his writings on Baudelaire's work, used the word flâneur to describe an individual who practices the mode of perception and creation that Baudelaire attributes to M.G., and from which the poems in "Parisian Scenes" seem to arise. possibilities of connection that might have been but will never Baudelaire writes that M.G. exists "perpetually in the spiritual be. In "Skeleton Crew," the speaker contemplates whether the condition of the convalescent," who "like the child, enjoys to fate of humanity—eternal toil and suffering—can be seen by the highest degree the faculty of taking a lively interest in looking at the body. These musings begin with his viewing things, even the most trivial in appearance." The convalescent's anatomical drawings from a medical text. nearness to death means he "breathes in with delight all the With "Twilight: Evening," the threshold of night, with all its dangers, draws near. Darkness wakes vice to go to work, and fate is stronger and more apt to tear the soul from the body. In Copyright © 2019 Course Hero, Inc. spores and odours of life ... he remembers and passionately wants to remember everything." Similarly, the child "sees everything as a novelty; the child is always 'drunk.'" Art, The Flowers of Evil Study Guide Poem Summaries 28 therefore, begins with a keenness of perception—a way of example of this transcendence is found in "The Little Old seeing the world that is particularly open, alert, and interested. Women," when the speaker describes the way the elderly This is evident in "Parisian Scenes," where even a glimpse of a women move along the sidewalk: "Whether they mince like person in traffic ("In Passing") is grabbed and recorded by an marionettes or drag / themselves along like wounded animals, eager mind. / they dance ... / sad bells on which a merciless Devil tugs." Baudelaire continues, declaring that the artist's "passion and his profession is to merge with the crowd." He operates like "a mirror as vast as [the] crowd ... a kaleidoscope endowed with consciousness," reflecting in every moment "a pattern of life, in all its multiplicity, and the flowing grace of all the elements that Parisian Scenes, Parisian Landscape go to compose life." In "To a Red Haired-Beggar Girl," the sighting of a young woman scavenging for food becomes a meditation on poverty and beauty that finds grace in squalor: "queens in velvet buskins take the stage / less regally than you wade through the mud / on your wooden clogs," the speaker declares. Summary The poet-speaker explains the necessity of having living quarters that are suitable for his task. In order to write poetry as he should, he "must sleep / hard by heaven" so he may hear Art, then, consists of "things seen [which] are born again on the songs of the "belfries" in his dreams. To this end, he the paper, natural and more than natural, beautiful and better resides in a garret above the city. The poem describes this than beautiful, strange and endowed with an enthusiastic life, view, linking it to the poet's task. like the soul of their creator." In the process of artistic creation, the perceptions stored in the artist's memory "are classified ordered, harmonized, and undergo that deliberate idealization, which is the product of a childlike perceptiveness ... acute and magical." These poems are bound together by their rootedness in the speaker's psyche. This is what gives the images that pass before his eyes meaning. The raw material of the speaker's external perceptions is idealized, as Baudelaire describes it, within the speaker's mind. In "In Passing," a woman glimpsed while the speaker walks through a crowd becomes the embodiment of feminine power and the symbol of romance's capacity to reinvigorate: "Lightning ... then darkness! Lovely His view affords him sight of the various levels of the city: from "the workshops and their singing slaves" down below to the tops of buildings and the "blue eternity" above. He is gladdened by the sight of the lights that come with night: the "first star," the "first lamp," and the moon. Winter will not distract him from his work; in his quarters, he will shut out the cold weather and set to "dreaming of alluring distances ... / of everything in Idylls that's inane!" Even "a revolution down in the street will not / distract [him]" from his task. The last four lines describe the poet's task: it is a "carnal joy" to create, through words, a harmonious alignment between himself and the beautiful world, both natural and man made. fugitive / whose glance has brought me back to life!" The scenes of the street are filtered through the speaker's imagination, which collapses duality and multiplicity, reconciles opposites, and enmeshes the past and the present. This Analysis meaningful collapse of multiplicity is especially evident in "The The poet-speaker evokes the image of Paris as a fleet of ships. Seven Old Men." Here, the sight of seven old men passing Positioned above, he is the captain, but his is a journey of the before the speaker creates a sense of supernatural dread: creative imagination—the seeking, through poetry, to "Was it some vile conspiracy, or just / coincidence that made a "persuad[e] Paris to become a south." His captain's seat is his fool of me? / To the seventh power ... / this sinister ancient room positioned above the city at the boundary of the infinite reproduced himself!" blue beyond and the workshops with their singing slaves This raw material of everyday life is thus made to transcend the mundane and to assume the weight of allegory or myth. An Copyright © 2019 Course Hero, Inc. below—images that evoke sea journeying. This is the poet's journey, another elaboration on the poet's task. The task was first described in its religious or theological aspect in The Flowers of Evil Study Guide "Consecration," the opening poem to "Spleen and Ideal." This mode was the patient bearing of suffering so as to be able to Poem Summaries 29 Parisian Scenes, The Swan experience "divine delights" and to connect with and transcend all the duality of the earthly realm. The journeying of "Paris Landscape" is another of these modes in which the poet's task Summary is approached. The speaker begins by addressing Andromache, a character Duality is embedded in the poem in two ways. It is seen first in from Roman poet Virgil's (70–19 BCE) epic poem Aeneid the tension between the modern and the bygone. It is also (written c. 30–19 BCE), who has come to symbolize loss and seen in the various suggestions of permeability where duality is exile. Her home is destroyed in war, and in a famous scene breached. In lines 9–12, as the poet describes his pleasure in from the Aeneid, she grieves in front of a replica. Like the view of the sky from his rooms (allowed by the visual Andromache, the speaker's home has been changed: "Old permeability the window brings), the description of what he Paris is gone." As he walks through the newly renovated city, sees includes the timeless natural phenomena as well as the the speaker remembers what used to be there. In detail, he man-made emblems of modernity. He refers to his poems as describes a memory of a swan he saw outside of a poultry eclogues, a classical form fallen out of common use, devoted market. Escaped from its cage, dragging itself through the to the depiction of the pastoral, or idealized and rural. urban filth, the swan took on mythical qualities for the speaker However, the poem is set in a room in Paris—a contradiction and even seemed to be "castigating God" for its displacement that creates a tension. When the seasons shift to winter, he will from its natural habitat. create spring within his imagination by sealing the permeability between himself and the outside world by shutting the window. In the second part of the poem, the speaker contrasts the There, plunged completely in the alternate pastoral of his changing face of his city with his unchanging sadness. imagination, the room's darkness will be illuminated by his Recalling the image of the swan, he addresses Andromache dreams of the impossible and the ideal—the "Spanish castles" once more, before presenting a series of images that remind of he will build. This is a French idiom referring to the impossible, him the "great swan in its torment, / silly, like all exiles, and the historical inability of the French to enter tightly held sublime, / endlessly longing." He tells of a black woman who Spanish territory. Permeability suffuses the last lines of the longs for her home in Africa, and of orphans and all those poem as the intellectual activity of creating poetry is described whose irrecoverable losses destine them to lives of sorrow. in terms of the sensual and bodily. The exile the speaker feels is his "mind's exile," and memory is a horn that makes him "think of prisoners, / of the It is not merely the creation of poetry the speaker describes shipwrecked, the beaten—and so many more!" when he speaks of "fastening the springtime to [his] will" and "drawing the sun from [his] heart." These tasks are also necessary to remedy the deep discontent that suffuses the Analysis poem by implication. A clue that there is something more than meets the eye in the poet's optimistic, all-embracing tone is the Baudelaire dedicated "The Swan" to his contemporary, French title. "Parisian Landscape" devotes more than half of its writer Victor Hugo (1802–85). Public and private description to a place that is not Paris, not even part of the correspondence reveals a complex relationship between the external world. It is rather the world of imagination and two writers, characterized by envy as well as admiration. metaphor. It is the home of the spleen filled or the Baudelaire wrote scornfully of Hugo's talents yet sent him a discontented longing for the elsewhere of Spanish castles—of draft of "The Swan" along with a letter explaining his intention what is not. His longing to make Paris into a "South" is a in the poem. Both men participated in the Revolution of 1848, longing to shift his consciousness of Paris, to steer his but when the forces of autocracy triumphed with the consciousness rather than have it be subject to the external establishment of the Second Empire government in 1851, Hugo city, the seasons, the pressures of life. With great subtlety, went into exile. He would not return to France for nearly 20 Baudelaire has thus built a poem that exhales joy and years. Baudelaire dropped his political pursuits and remained in acceptance on a foundation of ennui, lack, and longing. Paris, where he witnessed the new government's extensive razing and rebuilding of the ancient city, which he describes Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide Poem Summaries 30 and responds to in "The Swan." His dedication of "The Swan" transcend past, present, and future, elevating the experience to Hugo is a nod to Hugo's condition of political exile, which described in the poem to the level of myth and epic. adds yet another layer of meaning to the poem's exploration of all forms of exile, grief, and loss. The reference to Daedalus is another mythological allusion. Daedalus makes wings held together by wax so he and his son The poem, considered by many to be the first truly modernist Icarus can escape from their imprisonment on an island. work of poetry, is full of allusions to classical myth and legend. Daedalus warns his son not to fly too high or the wax will melt. Andromache, to whom the poem is addressed, is a character in The boy, exhilarated in flight, forgets his father's warning and legends about the Trojan War between Greece and Troy. flies so high the wax melts and he plunges to his death. In "The Andromache is married to Hector, the great warrior and son of Swan," the allusion to Daedalus builds on the atmosphere of the Trojan king. During the war, the Greek warrior Achilles kills loss while also serving as a cautionary tale about the dark side all of Andromache's blood family and then her husband, of the heady rise of progress. Hector. After a time living as the concubine of Achilles's son, Andromache marries Hector's brother Helenus. They live In this poem, the central symbol of the swan loses its together in a city built to be a replica of destroyed Troy. The traditional symbolic associations with beauty, gracefulness, replica city even contains a replica of the river that ran through and romantic fidelity. Instead, it is presented in the context of Troy, the "mimic Simoïs" Baudelaire alludes to. Baudelaire's confusion and filth; the image is disjointed and unsettling rather description of Andromache "crouching blindly over an empty than graceful. The swan, ripped from its home as it is ripped grave" refers to a scene in which she is found grieving at the from its symbolic associations, becomes the opposite of what empty tomb set up to honor Hector in the city built to be a it was: not a creature in nature, but an exile lost in the city; not replica of Troy. a symbol of love, but the embodiment of futile resentment over the injustice of fate. The profound renovation of Paris that happened during Baudelaire's lifetime meant, to many, not the arrival of progress and sanitation but rather the destruction of old Paris. The Wine, Section Overview construction and changes brought many Parisians a sense of loss and exile in their own city—a sense that Baudelaire evokes powerfully in this poem. For the multitudes whose homes and businesses were part of the more than 50 percent of buildings that were razed, the loss (and exile to the edges of the city) was not just cultural but sentimental. After the Revolution of 1789, the city of Paris underwent rapid change in concert with the rise of a wealthy new bourgeoisie class and advancements in technology. In 1853, four years before the first copy of The Flowers of Evil was published, French civil servant Baron Georges-Eugène Haussmann was given the job of remaking Paris as a modern city in the style of London. The city then was characterized by ancient neighborhoods of narrow, twisted, dark alleys and the ramshackle signs of rampant poverty. Under Haussmann's direction, over the next 17 years the old neighborhoods disappeared. Haussmann's Paris—modern Paris—or, the "replica" Paris suggested in "The Swan," with its wide boulevards for easy commerce and riot control, rose up like an emblem of the new modernity. By yoking this modernization of Paris to classical myth and the archetypal experience of loss and exile, Baudelaire creates a poem whose boundaries Copyright © 2019 Course Hero, Inc. Summary In the section's opening poem, "The Soul of the Wine," wine is the speaker. It is personified as an agent with the capacity to act and influence humans but with its own feelings, hopes, and desires. In the opening lines, wine addresses humanity with compassion: "Dear mankind— / dear and disinherited!" After expressing gratitude for the work humanity does to make wine, wine encourages humanity to drink. It promises to give "light and brotherhood," "happiness," strength, and amorous desire. In the final stanza, wine calls poetry the offspring of its love affair with humanity. Wine hopes man will drink and tend to this poetry, that it may "grow / and blossom like a flower in God's sight!" In the second poem, "Ragpickers' Wine," the speaker describes seeing an army of drunken ragpickers marching through the filthy streets of Paris, "reeking of sour wine." Their passing becomes elevated by the magical quality of the speaker's perception. Suddenly "arches of triumph rise" and "bugle-calls and battle-cries and drums" are heard. These social outcasts The Flowers of Evil Study Guide then "march in glory past a cheering mob!" Poem Summaries 31 This drunkenness, so glorious and ebullient in "Ragpickers' Wine," is pushed to its limits in "The Murderer's Wine." This In "The Murderer's Wine," a man confesses that he has just poem's speaker is a man who not only suffers deeply despite murdered his wife, has an unquenchable thirst for wine, and is his addiction to wine, he also has no moral compass. happy because he is now free to die drunk and unconscious. In Everything he speaks of is inverted, the opposite of what it "The Solitary's Wine" the poet-speaker addresses wine fondly claims to be: the "True Love" he speaks of is suffering as "my Bottle," with its "long green curves," as if it is a woman. intensified, the very reason for murder; the amorous meeting He praises wine for being the "remedy" that speaks to his he promises his wife is an ambush that ends with her death; heart. In the last poem, "Lovers' Wine," the speaker urges his the happiness he claims is the freedom to die, alone and lover ("my sister") to mount the wine with him as if it were a unconscious, renouncing even the thought of an afterlife. While horse. Thus they will ride together to "the far mirage," the the desperation in "The Solitary's Wine" is less nihilistic, it still "Paradise of [his] dreams!" reeks of delusory and dangerous pride. In particular, the speaker echoes the same claim made by the tempter who Analysis In this group of poems, wine is the symbolic starting point for an exploration of some very fine lines within the human psyche. convinces Eve to eat the forbidden fruit in the Garden of Eden, thus engineering mankind's fall from grace and expulsion from paradise: "give us pride / that makes us winners—we shall be as gods!" The section explores the distinction between imagination as This feverish, proud delusion gives way in the final poem to a creative perception that renders the ordinary as more than vision of delusion that more resembles the ecstatic ordinary and imagination as delusion, between judicious imagination. The speaker compares himself and his beloved to comfort for the suffering in life and nihilistic self-destruction. angels fleeing, yet whatever they are fleeing will still be there In the opening poem, wine itself waxes lyrical, making grand claims of help and happiness toward suffering mankind, citing itself as the offspring of God and man and the progenitor of poetry. The immediate contrast offered by the following poem, "Ragpickers' Wine," makes the reader question the trustworthiness of the claims made by wine. Wine's because they are moving toward only "the far mirage." Wine's transport is an illusion unless it is a transport into death, but in the moment where "the air is splendid" and the sky "magic—divine"—the moment ripe with the promise of intoxication without its poisonous actuality—none of that matters. intoxicatingly sweet love letter to humanity gives way suddenly to the blunt, unsettled atmosphere of urban filth and confusion that opens "Ragpickers' Wine." The scene opens onto a Wine, The Murderer's Wine "muddy labyrinth ... / teeming with unruly, sordid types," carrying bags of trash and loaded on wine. Summary The speaker's tone is ironically tongue-in-cheek as he describes how the ragpicker performs great deeds and grows In this poem, the speaker confesses to the reader that he has drunk "on his own boasts." The ragpicker and his companions murdered his wife. He claims to be happy for having done this, exist on the fringes of Parisian society; they are society's but remarks upon his unquenchable thirst for wine, "wine discards, living on that which the moneyed classes throw away. enough to fill her grave ... / which means a lot of wine." The However, they are utterly transformed by wine, invested with murderer pushes his wife down a well when she meets him for the dignity, pomp and circumstance, and heroism of a what was to be a romantic encounter. He explains that he had triumphant army returning home. This transformation is to kill her because he loved her too much and that love is a recounted in full sincerity; the ironic tone of a few stanzas source of suffering. Complaining that "Nobody understands," earlier has vanished. It is as if drunkenness itself has infiltrated he asserts that he is different from the other drunks who don't the poem, bending its tone and imagery in the direction of feel, suffer, or love deeply like him. He celebrates his freedom intoxication. to engage in drunken self-destruction now that his wife is gone. "Dead drunk" on the ground, he won't "know / or care" Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide Poem Summaries 32 when a passing wagon "crushes [his] guilty head." The poem "Destruction," establishes that "the Demon" instigates the closes with the exclamation, "To Hell! / with Hell! Good appetites and desires that find their expression in sex and riddance, God!" romance. The passions are inherently destructive to the soul, for their pursuit "leads [one] out of God's regard ... / out to Analysis where the vast / barrens of Boredom stretch infinitely." In the next poem, "A Martyr," the speaker contemplates a work of art that viscerally illustrates the destructive nature of romantic The speaker, the murderer, holds a dark view of humanity, passion. The drawing shows a young woman's naked, headless freedom, happiness, and love. Declaring that humankind is corpse bleeding onto a bed while her head sits on a nearby completely insane, he confesses both to the murder of his wife stool. The speaker imagines she has been murdered by her and to his own desire for self-annihilation. The poem explores lover because she could not satisfy his lust while living. how his inability to withstand life arises out of his very nature. The next three poems, "Lesbos," "Damned Women: Delphine The images of a wine-filled grave and a shroud made of wine and Hippolyta," and "Damned Women," focus on female are tightly connected. The speaker imagines that his constant homosexuality as a phenomenon that lies outside of morality. thirst will be satisfied by the amount of wine it would take to fill In "Lesbos," the speaker is "chosen ... among all men / to sing his wife's grave. A few stanzas later, he declares that on bad the secrets" of this island where women love women. The nights, "wine [can] make a shroud." A traditional funeral custom speaker in "Damned Women" expresses his love and is to bury the deceased wrapped in a piece of cloth called a compassion for lesbians, characterizing them as "Virgins, burial shroud. In certain cultures, a bride's veil is later reused as demons, monsters, martyrs, all / great spirits scornful of her burial shroud. Shroud also has a more general meaning as reality." However, the speaker in "Damned Women: Delphine "that which covers up or hides something." Wine both covers and Hippolyta" has a more condemning attitude, urging these his wife's body like a burial shroud, and it has the effect of two lovers to continue along the path toward hell they have hiding (shrouding) his sense of thirst. chosen through their homosexuality. Here, thirst is a metaphor for the murderer's tendency to feel In "The Two Kind Sisters," the speaker describes how the too much—much more so than the "numbskull" drunks he "friendly girls," Death and Debauch, plant the seeds of suffering knows. It is his own sensitivity and vulnerability that arouse in through desire in his soul and then offer the remedy. They are him the excessive "True Love" for his wife that has the cause of the "wasting fear" described in the next poem, necessitated her death. The speaker claims his wife's death "The Fountain of Blood." In this poem, the speaker describes has brought him happiness and freedom because their his sensation that his blood is spurting out of his unwounded relationship was suffering and bondage. However, this freedom body, "dyeing all the world of nature red." is the freedom to die drunk in the road, to obliterate his painful awareness. It is his contemplation of this prospect that makes Death and Debauch then reappear in "Allegory," depicted as him happy, for he has rejected not only morality but also life powerless to harm the lovely prostitute that is the poem's itself—and even the prospect of an afterlife, as the last line subject. She is "Sterile" and "virgin" because she offers her makes clear. beautiful body as "a noble gift." The next three poems contrast with "Allegory," exploring the Flowers of Evil, Section ways that the speaker is damned. In "Even She Who Was Overview speaker's beloved joins in with the "imps" who created the Called Beatrice By Many Who Knew Not Wherefore," the poetworld to mock the poet's artistic efforts. In "Metamorphoses of the Vampire," a vampire-like woman boasts of her power to Summary enslave and condemn men as well as angels. She then changes form, first to an emblem of disgust and then to a symbolic representation of sad emptiness. In "A Voyage to The 12 poems in this section are a thorough exploration of "love's darker side" ("A Martyr"). The opening poem, Copyright © 2019 Course Hero, Inc. Cythera," a note of hope falls flat when the speaker finds that The Flowers of Evil Study Guide Poem Summaries 33 the lover's paradise of ancient myth is no longer what it was. Eros are very much like "flowers of evil." Another symbol with Aphrodite, Greek goddess of love, no longer presides over the the same meaning is found in the poem "A Voyage to Cythera." island; instead, it is barren but for a hanging corpse, castrated This is the hanging, castrated, half-devoured corpse the and half-consumed by wild animals. The speaker recognizes speaker beholds and recognizes as himself on the island that the corpse as his own and prays to not feel disgust. The last was supposedly the lover's paradise. poem, "Eros and the Skull," is a symbolic representation of the way that love's games have the power to annihilate fragile human souls. Analysis Flowers of Evil, Damned Women: Delphine and Hippolyta A certain worldview underlies not only this section but also all the poems in the text. It is encapsulated in the metaphorical title, "Flowers of Evil." In short, all that is particularly human, or beautiful and compelling in this world—as well as all that is not—is the blossoming or manifestation of what can be called "evil." This philosophy emerges in a few key poems in this section. Summary This poem describes what passes between two women after they have sex for the first time. In the first six stanzas, "Wildeyed" Hippolyta contemplates her loss of innocence to the The opening poem, "Destruction," accounts for the existence more experienced Delphine. Delphine, like a "lioness ... of desire, which is the foundation not only of man's distance watch[ing] her prey," searches the face of her victim for from God but also of self-destruction and ennui. The "Demon" evidence Hippolyta has enjoyed their lovemaking. who "tags along" sowing "sinful" desire in the speaker is ubiquitous, like the air the speaker breathes. That is to say, there is no escaping this demon's influence. Furthermore, it is human nature to pursue desire to its end: the wasteland of ennui. In this wasteland, the pervasive sense of meaninglessness functions as a mirror that helps mankind to understand that it is self-destruction—the pursuit of desire—that has landed him in his predicament. In the closing poem, "Eros and the Skull," Baudelaire uses allegory to revisit this same idea. The "Demon" from "Destruction" is recast as the personification of Eros, the Greek word for romantic or sexual love. This is the same demon in a different form; as the reader is informed in In stanzas 8 through 10, Delphine compares their intercourse to "kisses ... light as ... May-flies / which graze the great transparent lakes at sunset." By comparison, a male lover would leave her like the broken earth after it has been ploughed by oxen. In exchange for one loving glance, Delphine promises Hippolyta can have "an endless dream" in her arms. In stanzas 11 through 14, Hippolyta declares her love for Delphine but wonders if their lovemaking is morally wrong. Although she still lusts for Delphine, she is plagued by "Pangs of dread" and horrifying visions. Nonetheless, she vows to continue loving Delphine, "even if my choice becomes a trap / laid for me, and the onset of my doom." "Destruction," this trickster demon disguises himself in various In stanzas 15 through 19, Delphine chastises Hippolyta for ways, sometimes appearing as a beautiful woman. In this final thinking that love and morality coexist. "You cannot please two poem, Eros is a bubble-blowing trickster perched atop a skull, masters in this world!" she huffs. Delphine suggests the emblem that represents humanity. Eros blows these sardonically that Hippolyta soothe her conscience by allowing bubbles to amuse himself, but their position of arising from herself to be mutilated sexually by "some stupid boy." humanity's skull suggests they might be mistaken for the individual human's own impulses, thoughts, and feelings. In stanzas 19 through 21, Hippolyta is seized by horror: "There However, they are the work of this "Monster Murderer," the is emptiness / inside me—and that emptiness is my heart!" She title the skull uses to address Eros. The bubbles are beautiful asks Delphine to hold her so she can "annihilate" herself and as they rise and beautiful as they shatter, but they are made of "find the solace of a grave." humanity itself—its soul, flesh, and blood. These "bubbles" of Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide Poem Summaries 34 In stanzas 22 through 26, an unidentified speaker's comments (which she attributes to a male) that sex and romance can be appear as a monologue addressed to the two women. Delphine conducted in a moral manner. Her positions are so extreme and Hippolyta should pursue their path to hell by continuing to and exaggerated that Delphine, instead of mounting a plausible pursue their romance. He says the "harsh sterility" of their defense for female homosexuality, is made into a caricature of lovemaking "rattles [their] flesh like an abandoned flag." He an evil, insane lesbian. bids them to "flee / the infinite" within themselves by going forth into their chosen exile in the wilds. Rebellion, Section Overview Analysis This poem was not one of the six banned by a French court in 1857 for obscenity that offended public morality, although it is sandwiched between two poems that were banned. Like "Lesbos" and "Damned Women," the subject matter of "Damned Women: Delphine and Hippolyta" is sex and romance between women. However, the speakers in "Lesbos" and "Damned Women" hold a positive or at least sympathetic view of lesbian relationships. While Baudelaire rejected the commonly held idea of his day that art ought to teach morality, "Damned Women: Delphine and Hippolyta" upholds 19thcentury sexual norms, portraying lesbian relationships as immoral, unnatural, and spiritually harmful. This perhaps explains why it escaped censorship. Summary This section's three poems all deal with motifs and themes drawn from the Christian tradition. In the first poem, "Saint Peter's Denial," the speaker begins by berating God for his lack of appropriate response to human suffering. The speaker even claims that human suffering gives God pleasure: "Like a tyrant gorged on meat and wine, He sleeps— / the sound of our blasphemies sweet in His Ears." The speaker then begins to address Jesus. He relates the story of Jesus's crucifixion, emphasizing the suffering Jesus must have felt. He claims that God laughed at Jesus as Jesus was crucified. The speaker then asks Jesus to recall the "wonder-working days" before the crucifixion when Jesus was "on fire with valor and with As she assesses the morality of her sex with Delphine, hope." He asks Jesus if he doesn't feel remorse. In the last Hippolyta is terrified by visions of being called to join an army stanza, the speaker expresses his disgust for "a world where of ghosts under a blood-colored sky. These ghost-armies action is no kind to dreams." He expresses a longing for a represent those women who choose to have sex with other violent death and remarks that Peter, Jesus's disciple in the women, rejecting their purpose and duty to satisfy male lust New Testament, is right to deny that he follow Jesus. and bear offspring. Baudelaire thus implies that female homosexuality is a chosen behavior that erases a woman's humanity. Hippolyta realizes that her heart—the symbolic and literal center of her being—has disappeared. Lesbian sex, the "dreadful feast" which "foul[s] the night," is contrary to the natural order. This concept is reinforced by the speaker who appears at the end of the poem to condemn the women. Lesbian sex can never bring satisfaction; instead, it consumes its victims with ever-stronger desire that literally burns away the body and soul, leaving only a "frantic shad[e]" where a person once was. Lesbian sex is described positively by Delphine, who compares it to the flitting of winged insects on a lake. However, Baudelaire draws her character in a way that undermines the validity of her point of view. She is described as a predator who has made Hippolyta her victim. Delphine describes heterosexual sex as inherently violent and recoils at the idea Copyright © 2019 Course Hero, Inc. The second poem, "Abel & Cain," moves back to the Old Testament story from the Book of Genesis. The poem has a repetitive structure, with the speaker in one stanza addressing the Race of Abel, in the next the Race of Cain. The speaker addresses Abel encouragingly, noting that "God is pleased" and urges him to enjoy the benefits of this favor. In contrast, the speaker describes the suffering and condemnation of the Race of Cain. In this part of the poem, the structure continues, but the positions of Abel and Cain are reversed. The speaker condemns the Race of Abel, implying that his downfall will come, and urging the Race of Cain to "Rise up ... / and cast God down upon the earth!" In the final poem, "Satan's Litanies," the speaker offers a prayer of petition and praise to Satan. He praises Satan as the wronged party in the drama between God and Satan; he is the "Prince of exiles, exiled Prince." After each description of The Flowers of Evil Study Guide Satan's nature or abilities, the refrain is repeated: "Satan, take Poem Summaries 35 monarch in the French Revolution of the 1790s. pity on my sore distress!" Satan is the "Adoptive father to those an angry God / the Father drove from His earthly In "Saint Peter's Denial" and "Satan's Litanies," the injustice paradise." In the last section, titled "Prayer," the speaker prays borne by Satan and Jesus both is highlighted; the speaker that his soul will encounter Satan beneath the Tree of sees both as recipients of God's unfairness. Humanity, Knowledge—the tree whose fruit earns humanity its expulsion similarly, has been wronged by God—cast out of Paradise and from the Garden of Eden. abandoned to the world below—and so humanity has much in common not just with Jesus, but also with Satan. However, in the very situation of being wronged, rejected, and expelled, Analysis there lies the strength for the remedy: in "Satan's Litanies," the speaker declares that Satan, though "wronged, / yet rises ever In these poems, the speaker takes a position that is easily stronger from defeat." Similarly, in "Cain & Abel," the Race of regarded as blasphemous. There is a reversal of the usual Cain is urged to "Rise up" and "cast God down upon the earth!" order of esteem and petition: God is criticized and cursed while God should be made to experience the rejection that humanity Satan is praised and invoked as the healer of human suffering. and Satan both experience. Otherwise the world is a rotten The speaker's sense of injustice lies behind this reversal. place, "where action is no kin to dreams" ("Saint Peter's Denial"). Such injustice is particularly evident in the poem "Abel & Cain," where the discrepancy in the treatment of the two lines of humans (according to the story from the biblical book of Rebellion, Satan's Litanies Genesis) is sharply evoked through the simple, repetitive structure. The poem may be read as an allegory for the inequality that marked the France of Baudelaire's day. The races of Abel and Cain correspond, in this reading, to the moneyed bourgeois class and the common people, many of whom suffered greatly from poverty. Summary In a two-part litany, or recited formal prayer, the speaker makes a petition (request) to Satan and lists his attributes. Baudelaire was positioned between these two classes and Satan, "Prince of exiles, exiled Prince," remediates human thus had a unique perspective on both. The stepson of a suffering and bestows love, bliss, and hope. The speaker general, Baudelaire's family had money, and he was given a praises Satan for his thorough knowledge of what is hidden large inheritance as a young man. However, he squandered his both within individuals and in the physical, earthly realm. He is money and struggled with debt his entire adult life. Additionally, the "Adoptive father" to man, whom God has rejected and part of his process of artistic creation involved walking through exiled from "His earthly paradise." This praise is issued in the city, mixing with the flow of humanity and observing, couplets (pairs of lines), each of which is followed by the particularly, the ways of the common people. Such observation refrain, "Satan, take pity on my sore distress!" The poem is emphasized in the section "Parisian Scenes," in which many concludes with a prayer that departs from this repetitive poems describe the wretchedness of the lives of the people structure. "Glory" is given to Satan, who has been ejected from Baudelaire observed. heaven but continues to "dream in taciturn defeat" from his position in "the Pit." The speaker asks Satan to grant his soul In "Cain & Abel," the speaker's anger at this inequality is an audience beneath "the Tree / of Knowledge" when at last expressed as a desire for violence. "Saint Peter's Denial" Satan returns to paradise. shows that the anger is directed at God for creating and supporting such a situation, but in "Cain & Abel," the anger is also directed at the favored Race of Abel, who will have to Analysis suffer where once they prospered easily. The idea that their suffering could right the scales of inequality, which would When the book was first published in 1857, some restore the balance to society, is reminiscent of some of the readers—including certain friends and supporters of ideas that drove the common people to overthrow the Baudelaire—were angered by content they felt was Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide Poem Summaries 36 blasphemous. The French government charged the poet with Knowledge. Like the Satan in the biblical book of Revelations blasphemy and indecency. Baudelaire lost the subsequent trial, and in English poet John Milton's (1608–74) epic poem and the court ordered that six of the book's poems be Paradise Lost (1667), Baudelaire's Satan is also rejected by removed. Perhaps surprisingly, "Satan's Litanies" was not God and thrown out of Paradise. among the banned. The banned poems were those that contain erotic content deemed harmful to public morality. He is thus in the same fallen position as humanity with respect to God but with a crucial difference: he possesses the There is no consensus among critics about Baudelaire's omniscience and power that bely his heavenly roots. He is a personal theological beliefs. After a stroke late in life left him "God betrayed," but still, crucially, a god—one who operates on aphasic—unable to produce speech—the only words the poet the principles of opposition and chaos. He is not God the could manage to speak were the syllables Cre nom, part of the Father, the distant Creator in faraway heaven, but rather the blasphemous oath "Sacre nom de Dieu!" (Sacred name of god who attends continually to human life in all its imperfection God!) Shortly before his death, Baudelaire received the Last and messiness, irony, suffering, and glory. He is present, Sacraments from a priest. relatable, and accessible—which may explain why the speaker of the poem petitions Satan for aid instead of making a It is understandable why poems like "Satan's Litanies" would traditional petition to God, Jesus, or the Virgin Mary. earn accusations of blasphemy. The poem is a pastiche of two important Roman Catholic prayers, the "Kyrie Eleison" of the Mass and the "Glory Be" of the Rosary. Like a parody, a pastiche imitates another work or genre but without parody's Death, Section Overview mocking intent. In reconfiguring these two Catholic prayers, Baudelaire achieves an effect that is all the more shocking for being presented in a familiar form. The poem may be blasphemous, but a close analysis reveals that its speaker is not necessarily expressing devotion to what is wicked and harmful. Summary The six poems in this section explore the concept of death from various angles. The first three poems, "The Death of Lovers," "The Death of the Poor," and "The Death of Artists," While Christian theology uses Satan to account for the describe how death has a different meaning and is in fact a existence of evil in the world, the Satan presented in this poem different experience for each of these three archetypes. In is more complex. Satan is involved in the pursuits of self- "The Death of Lovers," the speaker uses a romantic, optimistic interested mankind. Examples of this given in the poem include tone to describe to his beloved their shared death. Their minds the search for knowledge, the preservation of life, the impulse are mirrors that have become dirty in life, and they are trapped for power and domination through warfare and exploitation of by their bodies and their limited ability to perceive, understand, natural resources, and the need for comfort and hope even and connect. Death is a process of cleansing and liberation; it when that requires embracing delusion and denial. Satan is the is even a kind of resurrection: "an Angel, unlocking doors, / will agent that inserts an element of disruption or chaos into come, loyal and gay, to bring / the tarnished mirrors back to human consciousness. The fruit borne of this interference may life." be morally good, wicked, or somewhere in between—like humanity itself. In "The Death of the Poor," this theme of death as an unlocking or revelation continues with the addition of the idea that death Satan's close connection to the human race is explained as is a consolation and a balm for the weary. "What else well as evoked by the phrase Prince of exiles, exiled Prince. consoles?" the poem begins; it closes by describing death as This is a figure of speech known as antimetabole, closely "the open gateway to the unknown God!" In "The Death of related to chiasmus, where one phrase is followed by another, Artists," the speaker addresses death personified as a "grim identical but for the reversed word order. As recounted in the Caricature." Death is the "idol" that artists worship. They create biblical book of Genesis, humanity is exiled from God's their art for Death, seeking to create works that approach the heavenly paradise when Adam and Eve, the first humans, splendor, power, and depth of Death. "Day's End" adopts the acquire knowledge by eating the fruit of the forbidden Tree of poet's perspective. Life and death are like day and night, and Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide Poem Summaries 37 the weary poet longs for the "replenishing darkness" of the tormented by Satan and tricked into bringing suffering upon sleep that is death. oneself, as expressed in the poem "Destruction," man's position in life is not painted very favorably in The Flowers of In "A Strange Man's Dream," the speaker shares a dream that Evil. Death is the resolution, the ideal remedy for all of these conveys his anxiety that death might not bring the relief and problems. This is at the heart of the philosophy of this text; the the newness that he thinks it will. The final poem, "Travelers," only doubt comes in the form of "A Strange Man's Dream." The describes how those who are true travelers "leave for leaving's worst-case scenario, presented here, would be that death sake," pursuing the "mysterious allure / ... that Chance brings nothing new with it. This dream is pushed aside, arranges in the clouds." However, they are disappointed however, and "Travelers" ends the text with its certainty that because, though they travel the world over, they see but Death is the pilot through the Unknown that can bring various forms of the same old tiresome thing: "though something truly different: the new. destruction came in many forms, / we were too often bored, the same as here." Through travel they learn that the world is "Tiny and monotonous," and that people are but "oases of fear in the wasteland of ennui," or boredom. In the final section, Death, Travelers Death is addressed as the admiral of the traveling ship. The plural speaker urges Death to take them onward, past the destruction of their selves, so they "can plunge / to Hell or Heaven—any abyss will do— / deep in the Unknown to find the new!" Summary This eight-part poem begins with the image of a child perusing maps, "satisfy[ing] his hunger for the world." Using the firstperson plural "we," the speaker describes embarking upon a Analysis sea journey. Many of his companions are fleeing something, In this final section, the dominant archetypes, themes, and These travelers are seeking "huge / and fluctuating and motifs that have threaded the entire text reappear and provide obscure delights" they have glimpsed in their imaginations. closure. The artistic impulse and task; the plight of the common man in the street; the complications of romantic love; the passage of time through day and night; the allusions to classical mythology and legend; the frustrations of ennui and the search for consolation; the poles of joy and suffering; the but "only those who leave for leaving's sake / are travelers." In the second section, the speaker elaborates upon the travelers' "Preposterous quest! whose goal cannot be known." The travelers are continually fooled by mirages that, from a distance, appear to be paradise or fulfillment. dreaming self and the waking self; the motifs of sea, ship, sun, Sections 3 to 6 show an exchange between the travelers and sky; and the reflection of the inner subjective world in the outer the "stay-at-homes," who request stories of faraway wonders world of nature are all invoked and attached firmly to the idea that they may "forget the prison of [their] days." The travelers of death. respond that "though destruction came in many forms," during This grounding in death brings resolution but not an ending. As expressed in "Day's End," life is "insolent, noisy," and "squanders itself." It fatigues with its senseless irritation; it beats the soul with shame, disgust, and horror, as expressed in "Travelers." Effort brings frustration and despair, as "The Death of Artists" makes clear. Worst of all, it is shot through constantly with ennui, the bored dissatisfaction that comes from having too much of what doesn't satisfy. As the opening their travels, "[they] were too often bored, the same as here." Spurred onward by a relentless desire to find what they sense in their imaginations, the travelers cross the world but are met only with various manifestations of "the boring pageant of immortal sin." They describe the sickness of humanity they have encountered the world over, concluding that "the least stupid, Ecstasy's elect," are those who drugged their pain with opium. poem to the text ("To the Reader") attests, of all the horrors of The travelers share what they've learned in Section 7. The life, Boredom or ennui is the worst, as it "would gladly world is "Tiny and monotonous," and humans are merely undermine the earth / and swallow all creation in a yawn." Cast "oases of fear in the wasteland of ennui," a word that refers to out by God, as expressed in the section "Rebellion," constantly a despair born of a pervasive sense of meaninglessness. Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide Poem Summaries 38 Nonetheless, the travelers' strategy against humanity's Electra and their friend Pylades to avenge his father's murder "tireless adversary, Time," is to keep following the seductive by murdering his mother. Condemned by the gods, Orestes's voices that lure them ever onward with promises of "the magic punishment is to be pursued around the world by the horrific harvest that [they] hunger for!" female creatures known as the Furies. In Section 8, the weary travelers urge Death, the captain of However, while inhabiting the epic mode, "Travelers" also their ship, to "Put out to sea!" They ask Death to help them inverts its conventions by infusing them with a critique of "plunge / to Hell or Heaven—any abyss will do— / deep in the humanity and an atmosphere of cynical disillusionment. The Unknown to find the new!" paradoxical quest starts with wonder but yields only bad news about human nature. Instead of renewing the hero through Analysis expanded insight, this hero's journey merely wearies. Baudelaire is in effect creating a modern myth, exploring the modern predicament of mankind. The use of archetypes and Travelers is one of the most complex, and certainly the symbolic personifications of abstract entities (the child, the longest, poem in the collection. The poem opens with the traveler, the stay-at-home, Time, and Death) as characters image of a child engrossed in maps, dreaming of the wonders elevates the poem to the status of myth, allowing it to speak to the world holds. Immediately, a jump in time and mood the universal as well as what is particularly modern. introduces tension. It is as if the child is propelled into the future to recall the travels that the body of the poem will allude It is not until the poem's end that the true nature of the conflict to. Such a jump involves themes and motifs that characterize is fully revealed. At last, when the finite sea becomes the the poem and the text as a whole. Time is a powerful "tireless signifier of the infinite abyss, the reader learns that the ship adversary," who spins "Fortune's fatal wheel." There is a duality that moves the travelers is the human soul. Death, the ship's between imagination and reality and between expectant bliss captain, steers the ship until overtaken by the antagonist Time, and disillusionment or ennui. who constantly seeks to thwart the ship's progress until it succeeds in doing so. The impossible goal of the ship's Time then jumps back to where the child, now grown, embarks preposterous quest is none other than that which is upon the journey he imagines in the first stanza. Although the resoundingly, shockingly, invigoratingly new, in the sense of the poem is delivered from the first-person plural "we," it is this unknown and unfamiliar. What the soul seeks is so new that it child who is the hero and protagonist of the poem. He is not a does not even exist in the world of the living. specific child but an archetypal symbol of the individual human. In many ways, "Travelers" revisits the ideas that opened the The allusions to Greek mythology throughout the poem signal text in the poem "Consecration"—although from a very that this poem operates in the modes of myth and epic. In different point of view. Both poems take the archetypal child, Greek poet Homer's Odyssey (9–8 century BCE), as the hero cast as poet or traveler, as their hero. The poet-speaker in Odysseus returns home from the Trojan War, he lands on the "Consecration" is on a spiritual quest filled with adversity. He island inhabited by the enchantress Circe, who is mentioned in thanks God for his suffering as it gives him the ability to "Travelers." She traps men with wine and song and then turns transcend all and thus fulfill his quest: "if I am to weave my them into pigs. Odysseus remains as Circe's lover until Circe mystic crown / I must braid it into all time, all space." This sends him on his way with instructions to visit the underworld crown is made of "primal rays" of light whose intensity would before returning home. In another episode from Odyssey, blind mortal eyes. It encompasses the entire known world and which is also recounted in a poem by English poet Alfred Lord transcends it, encompassing what is beyond as well. In the last Tennyson (1809–92), Odysseus and his men visit the island of two stanzas of "Travelers," the traveler chorus tells Death their the Lotus Eaters. Those who eat the lotus become so blissfully "hearts are filled with light." Having experienced all the world drugged they must be dragged off the island and chained to and its darkness, as light-filled beings they are ready to move the ship to continue their homeward journey. A third reference beyond the world to continue their quest. The light imagery positions the poem's hero as Orestes, whose story is here recalls the light imagery at the end of "Consecration." The recounted in a play by Greek dramatist Aeschylus (c. 525/24 mystic crown made of all space and all time is recast as the BCE–456/455 BCE). Orestes conspires with his devoted sister abyss beyond the world that encompasses both heaven and Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide hell. The Flowers of Evil thus comes full circle. Quotes 39 "Under an Angel's unseen tutelage / the outcast child ... / will g Quotes recognize in all he eats and drinks / golden ambrosia and nectar of "Satan Trismegistus subtly rocks / the gods." our ravished spirits on his wicked bed." — Narrator, To the Reader — Narrator, Spleen and Ideal, Consecration Although the young poet-speaker is cursed by his very mother for being different, he is protected and blessed by heavenly beings. Instead of falling into the darkness of the world's Throughout the text, Satan appears as the director of human hatred and suffering, the child falls under the spell of nature. In effort. In this line, Baudelaire uses the image of Satan as an discerning the spiritual essence within nature, the child alchemist and a lover, acting upon humanity through both complies with his divinely ordered task as poet. modes. Trismegistus is the legendary founder of alchemy, an antique pseudoscience involving the separation of substances into their pure forms. Satan is the master alchemist who can separate the human will and replace it with his own. Our spirits "Thanks be to God, Who gives us are "ravished" by him, as if entranced under a romantic spell, suffering / as sacred remedy for and we submit our bodies to this satanic intercourse. The all our sins, / ... which prepares / image emphasizes how completely humanity is controlled by this force of evil. the strong in spirit for divine delights!" "I speak of Boredom which ... / dreams of hangings ... / Reader, you know this squeamish monster — Narrator, Spleen and Ideal, Consecration Baudelaire presents the poet-speaker, who appears in many of well, / —hypocrite reader,—my these poems, as a blessed being whose work is spiritual. alias—my twin!" takes his suffering as spiritual training, preparing him for his Scorned, mocked, and abused by everyone he knows, the Poet appointed task of creating poetry that both embraces and — Narrator, To the Reader Baudelaire ends this first poem in the collection by accusing the reader of being a hypocrite full of ennui, the despairing yet transcends all particulars. "In all those sallow blossoms who detached existential boredom that Baudelaire believes is could find / one rose to reconcile symptomatic of modernity. The startling criticism is softened my red ideal?" somewhat by his assertion that he and the reader are the same. Thus the criticism of the reader becomes a self-criticism as well, but even more, it becomes an indictment of the age. — Narrator, Spleen and Ideal, The Ideal Modernist poet T.S. Eliot (1888–1965) used this final line in his 1922 masterpiece "The Waste Land." Copyright © 2019 Course Hero, Inc. Using the metaphor of flowers, the speaker evokes the gap The Flowers of Evil Study Guide between society's ideals of femininity and beauty and his own. The woman who can open the speaker's heart is complex and bold as well as capable of causing pain or harm, like a rose's thorns. Her beauty is unique and tied to her character, unlike the innervated, submissive belles who are worshipped for their looks. "Calmly I watched, with a certain Quotes 40 "A Form, an Idea, a Being / out of the Blue—and fallen / into a Stygian morass / far from the eye of heaven." — Narrator, Spleen and Ideal, The Irremediable detachment at first, / as the The speaker describes the fallen state that is common to all swanlike arms uncoiled, and then that exists or lives in the earthly realm. Baudelaire's belief in the legs." concept of the separation of the ideal from the imperfect original sin and the fallen state of mankind, as well as the particulars of the world (here represented as a "Stygian — Narrator, Spleen and Ideal, Jewels morass," a hellish and chaotic swamp), are assumptions underlying the entire work. These ideas account for the role of the Devil as the engine of mankind and the motifs of duality or The speaker describes having sex while maintaining binary opposites, which are core features of The Flowers of detachment. The body of his lover is described as an object, Evil. separate from him, whose form and movement he observes. Baudelaire's attitudes toward women would be called misogynistic today. However, the speaker's detachment even during sex with his love exemplifies the mode of being of the dandy, Baudelaire's ideal modern man. "I shall be / committed to that ... carnal joy / of fastening the springtime to my will, / ... / "I'm like the king of a rainy country, persuading Paris to become a rich / but helpless, decrepit though South." still a young man." — Narrator, Parisian Scenes, Parisian Landscape — Narrator, Spleen and Ideal, Spleen (III) One of the book's most ebulliently optimistic poems reveals the underlying and ever-present displeasure and The speaker describes his chronic sense of meaninglessness dissatisfaction, or spleen, through its description of the poet's or ennui allegorically, through the affliction of this imaginary task. Locked in his dark attic room through the winter, he will king. Throughout the collection, gloomy weather is a motif that overcome the gloomy weather and his inner gloom by writing signals suffering or distress. Baudelaire's decrepit young king poetry. This poetry will give expression to his longings for what symbolizes not only the speaker's spiritual condition but also is not: the sun, the springtime, and the South, with its warmth the spiritual condition of ennui, which is the particular affliction and clarity. By rendering a world in words where the of humanity in the modern age. The jaded, weary boredom that imagination is the only law, the poet can regain a sense of can only afflict those few wealthy enough to afford leisure in power and meaning. earlier eras has become the norm in an age marked by material abundance and individualism. "A swan ... broken out of its cage, / Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide ... / white feathers dragging in the Quotes 41 sun our bodies know as love!"" uneven ruts, / ... / drenching its enormous wings in the filth / as if — Delphine, Flowers of Evil, Damned Women: Delphine and Hippolyta in its own lovely lake." Inexperienced, guilt-ridden Hippolyta confesses to her — Narrator, Parisian Scenes, The Swan experienced lover Delphine that she will continue being her lover, even though she feels to do so will damn her soul. Delphine makes this sharp reply, chiding Hippolyta for thinking The powerful image of a displaced, awkward, confused swan wandering about in the heart of filthy, narrow old Paris becomes a symbol for all "those who lose what never can be found / again—never!" Because the swan is actually an exile from his home that has suffered loss, this symbolic connection that love and morality are compatible. Delphine says that love and morality are opposing forces and cannot intersect. If Hippolyta cannot accept this fact, she must live without love or else submit her body and spirit to the destruction of a heterosexual relationship with a man. is not a metaphor (comparison of two unlike things), but rather an example of metonymy (comparison of two related or congruent things). Baudelaire inverts the traditional meanings of the swan symbol—beauty, grace, love—and connects it to a series of powerful emblems of exile and loss, including the speaker's sorrow over the demolition and renovation of Paris "Who gave to Death, your oldest paramour / a child both lunatic and and the grief of Andromache and Daedalus of classical myth lovely—Hope! / Satan, take pity on over lost homes and loved ones. my sore distress!" "What happens, after that, / is no — Narrator, Rebellion, Satan's Litanies concern of mine: to Hell / with A microcosm of the entire poem, this excerpt is one of a series Hell! Good riddance, God!" of couplets that praise and describe Satan, followed by the repeated refrain, which petitions him for help. By personifying and linking Death and Hope, Baudelaire describes the — Narrator, Wine, The Murderer's Wine corporeal and psychic limits of the world he has created in The Flowers of Evil. Satan, as master of disruptive and disordering The murderer is happy: he has just pushed his wife into a well forces in the fallen earthly realm, has coupled with the ultimate and now he is free of the pain of "True Love." He is also free to disruption, Death. The offspring of this union is the absurd drink as he wishes. He describes his plan for the evening of hope that blinds reason and subdues mankind enough to getting "dead drunk" and passing out in the street where he propel humanity onward through a life that is inevitably marked can be unconscious when a wagon crushes him to death. The by suffering, struggle, and futility. speaker's death wish is not connected to any desire for a new experience or some sort of preferable afterlife. Rather, it signals a despair so pervasive that it becomes spiritual nihilism. "Preposterous quest! whose goal cannot be known / but, being ""Whoever hopes to force into nowhere, can be anywhere; / only accord / day and darkness, ... / will our hope is inexhaustible, / and never warm his ... flesh / in that red Man pursues repose until he Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide drops!" Symbols 42 l Symbols — Narrator, Death, Travelers By presenting a series of paradoxes, this stanza expresses the Synesthesia tragic and futile irony—in Baudelaire's own sense of the world, as a mode of consciousness—of the human situation. The travelers keep moving onward because they are looking for the Synesthesia is an actual neurological experience, but experience Baudelaire would call supernaturalism, a state of Baudelaire uses it as a poetic device. The experience of pure presence where one transcends one's separate self. The synesthesia occurs when information from the five senses travelers know that this is not something that can be found by blends or overlaps. Synesthetes may hear a color or see a moving around on the surface of the globe, yet they cannot sound. Many of the poems in The Flowers of Evil contain stop searching nor hoping and believing that they are always synesthetic imagery. Baudelaire uses synesthesia as a about to find it. symbolic device to represent the aspect of reality that is transcendent and infinite. In the poems, synesthetic imagery reflects the speaker's immersion in this aspect of reality. "Death, old admiral, up anchor Synesthesia is also a manifestation of Baudelaire's philosophy regarding life and art. now, / this country wearies us. Put out to sea! / ... the waves and Synesthetic imagery in The Flowers of Evil consists of the layering of sense-impressions that are dislocated from their winds are black as ink, / our hearts normal mode. This imagery metaphorically suggests a level of are filled with light." thus creates an atmosphere of the mystical or the awareness or reality beyond ordinary perception. Baudelaire transcendent using only descriptions of normal, everyday — Narrator, Death, Travelers things. The idea that there exists a transcendent or perfect realm that In the final section of the book's final poem, the speaker urges is imperfectly approximated by the sensory world goes back to Death, here personified as the captain of the ship on which the the Greek philosopher Plato (428/427 BCE–348/347 BCE). travelers make their voyages, to pilot the ship onward. The The application of this idea to literature, and particularly its fallen world, full of "the boring pageant of immortal sin," is expression through the symbolism of synesthesia, is an signified by the color black. It lacks meaning and interest for innovation of Baudelaire and the other poets of his day who the travelers though they have journeyed from one end to the are now known as the French symbolists. other. The travelers' hearts are full of light because they anticipate Death carrying them onward to the other side of life. In using synesthetic imagery, Baudelaire affirms his rejection of There, ferried by Death out of the world of the living, they will the didactic, or teaching, function of art as well as his rejection find what they have sought all along: the profoundly new, which of the dominant morality of his era. For Baudelaire, art and life they imagine will remedy their ennui (detached, weary both should be about the exploration of the self and the nature boredom). of reality. His poems thus lack any one clear message about how the world is or how humans ought to behave. Instead, synesthetic imagery creates a luminescent haze around the ordinary. Uncertainty, transformation, and beauty are thus emphasized. This affirms the importance of seeking and questioning divine mystery. Synesthetic imagery is central to Baudelaire's famous theory Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide Themes 43 of poetics, known as his theory of correspondences. This natural habitat. In the swan's situation, the speaker sees the theory is both explained and demonstrated in the poem fate of all exiles, which is the fate of humanity itself: separated "Correspondences." The poem begins with a description of from God and the infinite and thrown to the world below to how "messages" are sent to humanity from "Nature's temple" suffer with the knowledge of this separation. as we move through the "forest of symbols." This forest of symbols is a place where "the sounds, the scents, the colors correspond." However, this interrelationship is an "ech[o]" that reaches us from "somewhere else." The Sea The poem's third stanza offers examples of these correspondences, characterized in the second stanza as a "blending ... / into one deep and shadowy unison." This imagery includes "odors succulent as young flesh, / sweet as flutes, and green as any grass." These mixed sense-impressions or correspondences are the manifestations of "infinite things." They thus create "raptures" in the mind and on the level of sensory pleasure. Many of the poems use the sea to represent the infinite within the finite. The sea becomes the vehicle whereby the individual may have the experience of the infinite or at least a semblance of such experience. "Previous Existence" details how the sea expresses infinitude within the world. The speaker describes how "Solemn and magical the waves rolled in / bearing images of heaven on the swell" and bringing with them "sovereign The infinite or spiritual is "echoes" in the world below. These music." In "Man and Sea," the speaker describes how man "will echoes are what mankind can grasp through his senses, thus contemplate his soul as in a glass" by observing the sea's providing some experience of the infinite. In the poem "endlessly unrolling surge." The sea creates an "image of "Previous Existence," the speaker describes the sea "bearing himself," which he is able to enter into, at least temporarily, and images of heaven on the swell." These images of heaven are have an experience of himself that transcends his normal inherently synesthetic: they blend "the sovereign music that limitations. they made / with sunset colors mirrored" in the speaker's eyes. Birds m Themes Mankind's Fallen State In several poems, birds symbolize the individual being trapped while possessing the ability to transcend. In "Consecration," the poet's scornful wife speaks of her plan to trap him through his adoration and love for her and then destroy him. "[A]s if a sparrow trembled in my fist / I'll tear his beating heart out of his flesh," she declares. "The Albatross" makes an explicit connection between the albatross and the poet. The speaker describes how sailors seek amusement by trapping the albatross, an enormous white bird, and tying it to the deck of the ship where they poke at it and mock it. The speaker claims, "The Poet is like this monarch of the clouds," thus "exiled on In his nonfiction work "The Painter of Modern Life," Baudelaire wrote that "the rejection of original sin is in no small measure responsible for the general blindness" of the previous century. Baudelaire's belief in original sin and humanity's subsequent fall from God's grace infuses many of the poems in The Flowers of Evil. This idea is expressed quite succinctly in "Spiritual Dawn," where the speaker characterizes humanity as "fallen man, who suffers and dreams on." the ground, hooted and jeered." It is his very ability to soar so Man's sin and fallen state is sometimes expressed through the high—to transcend the ordinary world—that cripples him: "he description of a preferable, pre-Fall bygone era when humanity cannot walk because of his great wings." In "The Swan," the was not corrupted with shame, but was full in power and displaced swan, escaped from his cage at the poultry market, beauty. These descriptions also function to critique the goes wandering loose through the urban filth as if it is in its modern era's zeitgeist, or defining spirit. In "I Prize the Memory Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide Themes 44 ...", the speaker praises humanity as it was before the Fall, for much of his life and made several suicide attempts), death using allusions to classical Greek antiquity. Back then, people is a state of longing intensely present in the speaker's were "flawless fruit engendered without shame." They lived in consciousness. The awareness of mortality, often expressed harmony with nature and the gods, partaking of this freely with a sense of impatience or expectation, colors a variety of given abundance: "Cybele then, abundant in her yield, / did not situations from the mundane to the romantic to the grotesque. regard her sons as burdensome, / but ... graciously / suckled Death-related symbols—such as tombs, shrouds, and the universe at her brown dugs." The speaker contrasts this skeletons—pepper the poems. Paradoxically, it is not so much with the "corruption" of the present era, where humans are a rejection of experience but rather an intense desire for a "grotesques" and "brats whom Utility, a pitiless god, / has completely new experience that lies behind this obsession with swaddled in his brazen diapers!" death. Sometimes humanity's sin and fallen state is expressed Death is often personified, presented as a woman ("Dance of through the longing to return to a place that cannot be Death") or some kind of creature. This personification allows reached. In "Moesta et Errabunda," the speaker laments the speaker to evoke an intimacy with death, often in the form humanity's loss, wondering, "what plaintive cries can ever call it of direct address. In "The Death of Artists," the speaker back, / that innocent paradise of timid joys?" In "A Voyage to addresses death directly as a "grim Caricature," also referring Cythera," the speaker confronts man's fallen state when he to it as a "splendid Creature" and the "idol" worshiped by journeys to the mythical island of the classical Greek goddess artists. The domain of death is "the Void," which the artist can of love, Aphrodite. He finds that the "Island of feasting hearts reach when he creates art where "the circle [is] squared." The and secret joys / ... [is now] nothing more than a thistled artist is thus aligned with death in his continual struggle to promontory" where the speaker sees a corpse whose create something that is completely, fundamentally new and castrated, ravaged state suggests the corruption and different. Such fundamental difference can belong only to the destruction that define human life. domain of death. This idea of death as the fundamentally different is further expressed in the last section of "Travelers." Man's fallen state is sometimes expressed as an alliance with The speaker addresses Death here personified as the admiral or closeness to Satan, who like humanity has been exiled from of the traveling ship. Expressing his boredom with his current God's favor. In "Satan's Litanies," the speaker characterizes circumstances, the speaker urges Death to sail the ship Satan as the "Adoptive father to those an angry God / the onward, out of the realm of life itself. Once the travelers have Father drove from His earthly paradise." imbibed death's comforting poison, they "can plunge / to Hell The reason for the fall of man from God's grace is expressed in "The Punishment of Pride." The speaker tells the allegorical or Heaven—any abyss will do— / deep in the Unknown to find the new!" story of how pride overcame one of the founders of the The speaker, however, is not always so sure that death will Church, who functions as the symbol of all humanity. "Moved / bring the freedom and newness he craves. "A Strange Man's to panic by Satanic pride," this man insulted Jesus Christ, Dream" expresses the anxiety, conveyed through a dream of claiming to be above him and characterizing him as a "vile dying, that death will not fulfill his expectations. Comparing his homunculus," a tiny caricature of a man, whose glory is not his impatience for death to a child who waits for a curtain to rise own. At that moment, humanity stopped being "a living temple" on a stage, the speaker laments, "Finally the cold truth was and fell to "Chaos." This man lost his reason and became like revealed: / I had simply died, and the terrible dawn / enveloped an animal, the slave of his passions. me. Could this be all there is? / The curtain was up, and I was waiting still." The Desire for Death Mirroring For the speaker in many of these poems, and presumably for Baudelaire as well (who suffered from ill health and depression Copyright © 2019 Course Hero, Inc. The Flowers of Evil Study Guide Themes 45 In The Flowers of Evil, Baudelaire continually evokes and process "of fastening the springtime to [his] will" and remaking collapses the distinction between self and other, finite and his city, Paris, in the image of his internal vision. infinite, subject and object, past and present, speaker and reader. These binary oppositions are made to mirror one another. The reader is thus invited along with the poet-speaker to contemplate the very nature of reality and to come to an Satan and Human Nature understanding of self and the world that lies outside of logic and received wisdom—a project that Baudelaire felt was most necessary in the new era that he termed modernity. A primary type of mirroring in The Flowers of Evil occurs between the speaker's subjective experience and the external world. Baudelaire often uses this relationship to convey the experience of despair or other negative emotions with heightened intensity. In "Alchemy of Suffering," the speaker explains, "Nature glows with this man's joy, / dims with another's grief." This principle is exemplified in poems like "Sympathetic Horror," where the speaker describes the complex mirroring between his emotions and the clouds he views: "The canyons of bloody cloud / accommodate my pride, Satan—the demon, the devil—appears frequently in The Flowers of Evil. In some of the poems, the speaker describes the work of this demon as the source of his suffering, which is manifested as desire, ennui (existential boredom and dissatisfaction), and self-destruction. This demon or devil is portrayed as an agent, a being who acts with intention, directing the impulses that drive the individual and define human nature. The intimacy between humanity and Satan is affirmed in other poems such as "Satan's Litanies," which take the form of prayers as they praise and even revere Satan for his workings. / their nebulous shapes become / a splendid hearse for my In "To the Reader," the opening poem, Satan is referred to as dreams, / their red glow the reflection / of the Hell where my "Satan Trismegistus," the latter name being an allusion to the heart's at home." purported inventor of alchemy, Hermes Trismegistus. In this Many of the poems evoke the connection between the finite, temporal world and the infinite or spiritual plane. The poem "Spiritual Dawn" explains that "To fallen man, who suffers and dreams on, / the Empyrean's inaccessible blue / presents the fascination of the Void." Baudelaire asserts that it is in man's nature to see the presence of God or the infinite in the ordinary surfaces of the world. To view the sky (the Empyrean) is to see two levels of reality at once: its blue color as well as its suggestion of the infinite. One distinctly modernist quality of these poems is their selfexposure as poetic objects, a quality known as self-reflexivity. As well as functioning to mirror the world, the poem becomes a mirror that reflects the undertaking of poetry itself with its processes exposed and its aims clearly articulated. Often this self-reflexivity is demonstrated through the collapse of the distinction between the speaker and the poet, with the speaker then meditating on his task of creating poetry. In "Parisian Landscape," the poet-speaker's description of his living quarters is presented as part of the process of writing poetry. "To make [his] eclogues proper," the speaker claims he needs a garret view that allows him to be close to the infinity of the sky while also watching the happenings of the city below. With this view, he can concentrate on creating poetry, which is a Copyright © 2019 Course Hero, Inc. mode, Satan is the "cunning alchemist" who works upon the human will like ancient alchemists worked to separate substances and transform base materials into gold. The result of this Satanic alchemy is that "the Devil's hand directs our every move— / the things we loathed become the things we love." The image of demons reveling and "Wriggling in our brains like a million worms" suggests that these demonic agents become deeply integrated into our very selves, infesting our bodies and making their thoughts our own. The process whereby Satanic interference gives rise to the self is clearly explained in "Destruction," the poem that opens the section "Flowers of Evil." The speaker casually explains how his constant companion is "the Demon," who "tags along, / hanging around me like the air I breathe" and filling the speaker, breath by breath, "with sinful cravings never satisfied." The speaker follows his desires and thus finds himself separated from God and stranded "where the vast / barrens of Boredom stretch infinitely." This boredom is ennui, the profound existential dissatisfaction laced with detachment and despair that Baudelaire wrestles with in many of his poems. Trapped in ennui, the speaker then becomes aware that his self-destruction and suffering—even his will—are the result of the demon's trickery yet again. He is not what he thinks he is. The Flowers of Evil Study Guide Rather, he is a manifestation—a flowering, which is sometimes beautiful, sometimes not—of this evil impulse that has been placed in him by Satan. In this way, Baudelaire asserts our lives, our very selves, are "flowers of evil." b Narrative Voice In the poems collected under the title Flowers of Evil, the speaker, who is often the poet, sometimes speaks in terms of first-person plural or uses direct address, either to an undefined "you," or to characters or entities. These range from God to the reader to the speaker's own soul. The poet-speaker is not necessarily the same as Baudelaire, the author of the poems, even when those poems contain elements that seem to be derived from Baudelaire's own life. Rather, the poet-speaker is the archetypal or symbolic poet whose revealed subjective experience speaks to the artistic position, experience, or task in general. Because the poems are generally written in the present tense, the readers are thus invited along for the speaker's subjective experience, to feel it within themselves and to note how it compares to their own experiences as they read. Poems that deal with the longing for or recollection of a bygone era often use the past tense. However, sometimes Baudelaire uses the present tense while alluding to classical or antique literature or myth. An example is "Travelers," when voices promising a reunion with characters from classical-era Greek tragedy lure the travelers onward. This use of tense highlights the discrepancy between the past and the modern era while also suggesting that the imaginative or mythic realm persists into the present. Some poems use the future tense, as in "Incubus," where the speaker makes a threatening vow to his lover to control her through fear. This future tense, combined with direct address, creates an intimate sense of dread for the reader. Baudelaire uses the imperative tense in several poems, where the speaker offers prayers, orders, or instructions in an attempt to influence fate, which is ultimately beyond his control. In "The Solitary's Wine," the speaker urges wine to "give us pride that makes us winners—we shall be as gods!" In other poems, the imperative is used to express the speaker's longing for death or oblivion, as when in "Craving for Oblivion" the speaker cries, "Avalanche, entomb me in your fall!" Copyright © 2019 Course Hero, Inc. Narrative Voice 46