Baudelaire Charles
Charles Baudelaire, His Life
Decidedly, I congratulate you with all my heart. You are now the equal (officially) of many mediocre people. That matters little. You wished it, did you not? need, perhaps? You are content, then I am happy.
Yours always.
Baudelaire to Sainte-Beuve
11th July, 1865.
Very dear friend, I could not cross Paris without coming to shake you by the hand. Very soon, probably in a month.
I saw J. L… three days ago, when I was making for Honfleur. L. pretended that he was going to undertake some important business for me with MM. G… If you could intervene in my favour with one or two authoritative words, you would make me happy. You do not wish my awkward compliments on the subject of the Senate, do you?
Your very devoted friend.
I start again for the infernal regions to-morrow evening. Till then, I am at the Hôtel du chemin de fer du Nord. Place de Nord.
BRUXELLES,Tuesday, 2nd January, 1866.
MY GOOD FRIEND,
I have just seen that, for the first time in your life, you have delivered your physical person to the public. I allude to a portrait of you published by "L'Illustration." It really is very like you! The familiar, mocking, and rather concentrated expression, and the little calotte itself is not hidden. Shall I tell you I am so bored that this simple image has done me good? The phrase has an impertinent air. It means simply that, in the loneliness in which some old Paris friends have left me (J. L. in particular), your image has been enough to divert me from my weariness. What would I not give to go, in five minutes, to the rue Mont-Parnasse, to talk with you for an hour on your articles on Proudhon; with you who know how to listen even to men younger than yourself!
Believe me, it is not that I find the reaction in his favour illegitimate. I have read him a good deal and known him a little. Pen in hand, he was a bon bougre; but he was not, and would never have been, even on paper, a dandy. For that I shall never pardon him. And it is that that I shall express, were I to excite the ill-humour of all the great beasts, right-thinking, of the "Universe."
Of your work I say nothing to you. More than ever you have the air of a confessor and accoucheur of souls. They said the same thing of Socrates, I think; but Messrs. Baillarger and Lélut have declared, on their conscience, that he was mad.
This is the commencement of a year that will doubtless be as boring, as stupid, as criminal as all the preceding ones. What good can I wish you? You are virtuous and lovable, and (extraordinary thing!) they are beginning to do you justice!..
I chatter far too much, like a nervous man who is tired. Do not reply to me if you have not five minutes of leisure.
Your very affectionate.
Baudelaire to Sainte-Beuve
15th January, 1866.
My dear friend, I do not know how to thank you enough for your good letters. It is really all the kinder of you because I know you are very busy. If I am sometimes long in replying it is on the score of health, which prevents me and even sends me to bed for many days.
I shall follow your advice: I shall go to Paris and I shall see the G…s myself. Then, perhaps, I shall commit the indiscretion of asking you to give me a helping hand. But when? For six weeks I have been immersed in a chemist's shop. If it should be necessary to give up beer, I do not ask anything better. Tea and coffee, that is more serious; but will pass. Wine? the devil! it is cruel. But here is a still harder creature who says I must neither read nor study. What a strange medicine is that which prohibits the principal function! Another tells me for all consolation that I am hysterical. Do you admire, like me, the elastic usage of these fine words, well chosen to cloak our ignorance of everything?
I have tried to plunge again into the "Spleen de Paris" ["Poems in Prose"], for that was not finished. Finally, I hope to be able to show, one of these days, a new Joseph Delorme, grappling with his rhapsodic thought at each incident in his stroll and drawing from each object a disagreeable moral. But how difficult it is to make nonsense when one wishes to express it in a manner at the same time impressive and light!
Joseph Delorme has arrived there quite naturally. I have taken up the reading of your poems again ab ovo. I saw with pleasure that at each turn of the page I recognised verses which are old friends. It appears that, when I was a boy, I had not such very bad taste. (The same thing happened to me in December with Lucain. "Pharsale," always glittering, melancholy, lacerating, stoical, has consoled my neuralgia. And this pleasure has led me to think that in reality we change very little. That is to say, that there is something invariable in us.)
Since you own that it does not displease you to hear your works spoken of, I am much tempted to write you thirty pages of confidences on this subject; but I think I should do better to write them first in good French for myself, and then to send them to a paper, if there still exists a journal in which one can talk poetry.
However, here are some suggestions of the book which came to me by chance.
I have understood, much better than heretofore, the "Consolations" and the "Pensées d'août."
I have noted as more brilliant the following pieces: "Sonnet à Mad. G…" page 225.
Then you knew Mme. Grimblot, that tall and elegant Russian for whom the word "désinvolture" was made and who had the hoarse, or rather the deep and sympathetic voice of some Parisian comediennes? I have often had the pleasure of hearing Mme. de Mirbel lecture her and it was very comical. (After all, perhaps I am deceiving myself; perhaps it is another Mme. G… These collections of poetry are not only of poetry and psychology, but are also annals.) "Tu te révoltes" … "Dans ce cabriolet" … "En revenant du Convoi" … "La voilà."…
Page 235, I was a little shocked to see you desiring the approbation of MM. Thiers, Berryer, Thierry, Villemain. Do these gentlemen really feel the thunderclap or the enchantment of an object of art? And are you then very much afraid of not being appreciated to have accumulated so many justificatory documents? To admire you, do I need the permission of M. de Béranger?
Good Heavens! I nearly forgot the "Joueur d'orgue," page 242. I have grasped much better than formerly the object and the art of narratives such as "Doudun," "Marèze," "Ramon," "M. Jean," etc. The word "analytical energy" applies to you much more than to André Chénier.
There is still one piece that I find marvellous: it is the account of a watch-night, by the side of an unknown corpse, addressed to Victor Hugo at the time of the birth of one of his sons.
What I call the decoration (landscape or furniture) is always perfect.
In certain places of "Joseph Delorme" I find a little too much of lutes, lyres, harps, and Jehovahs. This is a blemish in the Parisian poems. Besides, you have come to destroy all that.
Indeed, pardon me! I ramble on! I should never have dared to talk to you so long about it.
I have found the pieces that I know by heart again. (Why should one reread, with pleasure, in printed characters, that which memory could recite?)
"Dans l'île de Saint-Louis" (Consolations).
"Le Creux de la Vallée," p. 113. Here is much of Delorme!
And "Rose" (Charming), p. 127.
"Stances de Kirke White" p. 139.
"La Plaine" (beautiful October landscape), p. 138.
Heavens! I must stop. I seem to pay you compliments, and I have no right. It is impertinent.
Baudelaire to Flaubert
Tuesday, 25th August, 1857.
Dear friend, I wrote you a hasty little note before five o'clock solely to prove to you my repentance at not having replied to your affectionate sentiments. But if you knew in what an abyss of puerile occupations I have been plunged! And the article on "Madame Bovary" is again deferred for some days! What an interruption in life is a ridiculous adventure!
The comedy is played on Thursday; it has lasted a long time.
Finally, three hundred francs fine, two hundred francs for the editors, suppression of numbers 20, 30, 39, 80, 81 and 87. I will write to you at length to-night.
Yours always, as you know.
Baudelaire to Flaubert
26th June, 1860.
MY DEAR FLAUBERT, I thank you very much for your excellent letter. I was struck by your observation, and, having fallen very severely in the memory of my dreams, I perceived that, all the time, I was beset by the impossibility of rendering an account of certain actions or sudden thoughts of man, without the hypothesis of the intervention of an evil force outside himself. Here is a great confession for which the whole confederated nineteenth century shall not make me blush. Mark well that I do not renounce the pleasure of changing my opinion or of contradicting myself.
One of these days, if you permit it, in going to Honfleur I shall stop at Rouen; but, as I presume that you are like me and that you hate surprises, I shall warn you some time beforehand.
You tell me that I work well. Is it a cruel mockery? Many people, not counting myself, think that I do not do anything very great.
To work: that is to work without ceasing; that is to have no more feeling, no more dreaming; and it is to be pure volition always in action. I shall perhaps attain to it.
Always your very devoted friend.
I have always dreamed of reading (in its entirety) the "Tentation" and another strange book of which you have published no fragment (Novembre). And how goes Carthage?
Baudelaire to Flaubert
End of January, 1862.
MY DEAR FLAUBERT, I have committed an act of desperation, a madness, that I am changing into an act of wisdom by my persistence. If I had time enough (it would take very long) I would amuse you greatly by recounting my academical visits to you.
I am told that you are closely connected with Sandeau (who said, some time ago, to a friend of mine: "Oh, does M. Baudelaire write prose?"). I should be very much obliged if you would write to him what you think of me. I shall go and see him and will explain the meaning of this candidature which has surprised some of these gentlemen so much.
For a very long time I have wished to send you a brochure on Wagner, beyond which I do not know what to send. But, what is very absurd for a candidate, I have not one of my books with me at home.
On Monday last, in the "Constitutionnel" Sainte-Beuve wrote a masterly article, a pamphlet, enough to make one die with laughing, on the subject of candidates.
Always yours devotedly.
Baudelaire to Flaubert
PARIS,31st January, 1862.
MY DEAR FLAUBERT,
You are a true warrior. You deserve to be in the Sacred Legions. You have the blind faith of friendship, which implies the true statesman (sic).
But, good recluse, you have not read Sainte-Beuve's famous article on the Academy and the candidateships. This has been the talk for a week, and of necessity it has re-echoed violently in the Academy.
Maxime du Camp told me that I was disgraced, but I am persisting in paying my visits, although certain academicians have declared (can it be really true?) that they would not even receive me at their houses. I have committed a rash action of which I do not repent. Even if I should not obtain a single vote, I shall not repent of it. An election takes place on February 6th, but it is from the last one (Lacordaire, February 20th) that I shall try to snatch two or three votes. I think of myself alone (at least if it comes to a reasonable candidateship) in front of the ridiculous little Prince du Broglie, son of the duke, living academician. These people will end by electing their concierges, and those concierges are Orleanists.
Doubtless, we shall see each other soon. I dream always of solitude, and if I go away before your return I will pay you a visit for some hours down there.
How is it that you have not guessed that Baudelaire would rather be Auguste Barbier, Théophile Gautier, Banville, Flaubert, Leconte de Lisle – that is to say, pure literature? That was understood immediately by a few friends, and has gained me some sympathy.
Thank you and yours always.
Have you noticed that to write with a steel pen is like walking on unsteady stones with sabots?
Baudelaire to Flaubert
PARIS,3rd February, 1862.
MY DEAR FRIEND,
M. Sandeau was charming, his wife was charming, and I really believe that I was as charming as they were, since we all held a concert in your honour, so harmonious that it was like a veritable trio performed by consummate artists. As for my affairs, Sandeau reproached me for taking him unawares. I ought to have seen him sooner. However, he will speak for me to some of his friends at the Academy, "And perhaps – perhaps," said he, "I shall be able to snatch some Protestant votes in the ballot for the Lacordaire chair." It is everything I desire.
Seriously, Mme. Sandeau's enthusiasm is great, and in her you have an advocate, a more than zealous panegyrist. That greatly excited my rivalry, and I succeeded in finding some reasons for eulogy that she had forgotten.
Here is Sandeau's letter. Here is a little paper which will perhaps interest you.
Yours always. Hope to see you soon.
SOME REMARKS ON BAUDELAIRE'S INFLUENCE UPON MODERN POETRY AND THOUGHT
In his essay called "Pen, Pencil, and Poison" Oscar Wilde remarks: "But had the man worn a costume and spoken a language different from our own, had he lived in Imperial Rome, or at the time of the Italian Renaissance, or in Spain in the seventeenth century, or in any land or in any century but this century and this land, we should be quite able to arrive at a perfectly unprejudiced estimate of his position and value"; and he also says: "Of course, he is far too close to our own time for us to be able to form any purely artistic judgment about him."
It was only a year after the death of Charles Baudelaire that Gautier wrote the magnificent life-study of the poet, the English translation of which forms part of this volume, and the monograph seems to give the lie direct to Wilde's assertion. There is nothing finer in French literature, more delicately critical, more vivid in its personal pictures, more perfect in its prose. It is the triumph of a luminous brain, full of rays and ideas "whence images buzz forth like golden bees."
Yet it is just because there is some truth in Wilde's plea, that there is still something to be said to-day of Baudelaire. The attempt to say it may seem presumptuous, and I am certain that no single word of Gautier could be altered or improved upon. Everything fitted the biographer for his task. He knew Charles Baudelaire intimately. He possessed an ear for rhythm unequalled in its kind; his fervent and romantic fancy rendered him peculiarly able to appreciate the most delicate of Baudelaire's thoughts and tones of his music. Finally – a fact which has hitherto escaped notice in this connection – the "Mademoiselle de Maupin" of Gautier published in 1835 created much the same scandal and alarm as Baudelaire's "Les Fleurs du Mal" did in 1857. Although Théophile Gautier himself escaped the fate of being publicly prosecuted for an offence against public morals, he knew what it was to suffer a literary martyrdom, and could feel for his younger friend when the author of "Une Charogne" was brought before the Court. Indeed, it was in the very year that "Les Fleurs du Mal" was issued that Flaubert was prosecuted on account of "Madame Bovary" and Gautier became in consequence the great novelist's staunch friend and champion.
Gautier, above all his contemporaries, was of precisely the temper of mind to appreciate Charles Baudelaire. Nothing was lacking in the man, his temperament or his opportunities, to produce a masterpiece which, ranking with the "Voltaire" of Lord Morley, or Walter Pater's "Leonardo da Vinci" is almost unknown by the general English reader.
Yet there is much to be said of Baudelaire that Gautier could not say. Gautier died in 1872. At that time Baudelaire's work was only known to a distinguished literary coterie. In England it had hardly been heard of. Swinburne, in 1866, when "Poems and Ballads" appeared, was almost certainly the only English man of letters who understood the French poet.
Recently a certain amount has been written about Baudelaire in England. Oscar Wilde constantly refers to his poems; there have been some review articles for the making of which the writers have drawn largely upon Gautier and Asselineau's "Charles Baudelaire; sa vie et son œuvre." Mr. F. P. Sturm (in 1905) made a fine study of the poet as an introduction to an English verse translation of "Les Fleurs du Mal," published in the "Canterbury Poets" series. It is because I believe I have something new to say that I have dared to include a short study with my translations of Gautier's jewelled prose and of Baudelaire's poems.
Only a very few years ago in England, it was thought, though quite wrongly thought, that the more eclectic literary artists of England and France would, and must always, remain the peculiar property of the leisured and cultured classes. It was not only because the books of such writers were difficult of access and costly in price. Men and women privileged to enjoy and appreciate the work of Baudelaire or Verlaine in France, Walter Pater or Oscar Wilde in England, honestly believed that the vast mass of readers were temperamentally and by training unable to understand these and other artists.
The fact of compulsory education created a proletariat able and willing to read. Astute exploiters of popular necessity arose and began to supply cheap "reading matter" with all the aplomb and success that would have attended their efforts if they had been directed towards any other newly risen want. This happened a generation ago. Millions still feed upon the literary hogwash provided for them, but from among those millions a new class has arisen that asks for better fare, and does not ask in vain.
To take a single instance. Ruskin's works, in the "Everyman" library, are supplied at a shilling a volume. The demand has been enormous.
Again, a paper like "T.P.'s Weekly," costing a penny and dealing with the best things of literature, has an enormous circulation and a personal influence over hardworking middle-class men and women with little leisure for self-culture, that it is impossible to overrate.
Moreover, the issue of Oscar Wilde's finest work at a trifling price has been attended with a success that has startled no one more greatly than the adventurous publishers themselves.
Now these things are signs of the times. If they show anything at all, they show that the work of writers which has been hitherto thought to be far above the head of the ordinary reader is really not so in the least. And because I am persuaded that opportunity alone has been wanting, I have ventured upon this book.
Gautier's immortal essay takes the first place. We have here a piece of criticism and explanation which, while never digressing from its subject – the personality and life of Charles Baudelaire – nevertheless takes it as the motif of a work of art in a way no less perfect than those of which it deals. Let me endeavour to resume the theme so that we may see the difference that more than forty years have made.
Writers and readers of to-day must necessarily look at Baudelaire with very different eyes from those of Gautier. How, why, and in what degree?
In 1857 Baudelaire published his greatest work, the volume of poems called "Les Fleurs du Mal." The book stirred literary France to its depths, and shook bourgeoisie France with horror. To many people it seemed that a veritable apostle of Satan had risen up in their midst.
In 1866 Charles Algernon Swinburne published "Poems and Ballads" and shocked literary England in precisely the same fashion, the middle classes remaining quite undisturbed and never hearing of this young man's succès de scandale.
The great and enduring beauty of the "Poems and Ballads," the perfection of form, incomparable music, colour-of-dreams, and of dreams alone – all these were natural products of the greatest master of metrical music since Shelley. But the ideas behind expression, attitude, and outlook – haunted visions of sin, swayings towards the Satanic – all these were simply drawn from Baudelaire; as Baudelaire in his fashion had distilled them from Edgar Allan Poe.
And this brings me to the point I wish to make. It is, to point out the immense influence of Baudelaire upon the literature, thought, and life of England at this very moment.
This opium-taker, the eater of hashish; the rhapsodist of emotional life divorced from any moral or unmoral impulse; the man of good birth and fine social chances who died a general paralytic; the apologist of cosmetics, the lover of panther-women and the ultimate corruption of the grave, has made a definite change in English life.
All great events happen within the mind. "Waterloo," it used to be said, was "won upon the playing-fields of Eton" – just as Spion Kop was undoubtedly lost there.
An English critic of Baudelaire has said:
"The writing of a great book is the casting of a pebble into the pool of human thought; it gives rise to ever-widening circles that will reach we know not whither, and begins a chain of circumstances that may end in the destruction of kingdoms and religions and the awakening of new gods. The change wrought, directly or indirectly, by 'The Flowers of Evil' alone is almost too great to be properly understood. There is perhaps not a man in Europe to-day whose outlook on life would not have been different had 'The Flowers of Evil' never been written.
"The first thing that happens after the publication of such a book is the theft of its ideas and the imitation of its style by the lesser writers who labour for the multitude, and so its teaching goes from book to book, from the greater to the lesser, as the divine hierarchies emanate from Divinity, until ideas that were once paradoxical, or even blasphemous and unholy, have become mere newspaper commonplaces adopted by the numberless thousands who do not think for themselves, and the world's thought is changed completely, though by infinitely slow degrees.
"The immediate result of Baudelaire's work was the Decadent School in French literature. Then the influence spread across the Channel, and the English Æsthetes arose to preach the gospel of imagination to the unimaginative."
These passages are illuminating. They do not enunciate a new truth, but they insist upon one which is not sufficiently recognised. Gautier has pointed out how immensely Baudelaire was influenced by Thomas de Quincey, and, especially, by Edgar Allan Poe. To continue that line of thought is my purpose.
It is impossible to mention all those French writers who are literal creations of Baudelaire, who would never have written a line had he not shown the way. Their name is Legion, and many of them do not merit the slightest attention. One great writer, however, who would never have been what he was save for Charles Baudelaire, is Verlaine.
In England, although the imitators of Baudelaire and those who have drawn inspiration from him, are far fewer in number, their influence upon English thought can hardly be over-estimated.
I do not propose to do more than outline the influence. It will be sufficient for my purpose if I take but four names; those of Algernon Charles Swinburne, Walter Pater, Oscar Wilde, and the minor poet Ernest Dowson – who produced only one small volume of verses, but who, nevertheless, belongs directly to the school of Baudelaire, and whose work is tinging the attitude towards life of the present generation in a way very little suspected by most people.
Baudelaire, when he wrote of love, invariably did so with the despair of satiety. It was always a vanished emotion that he recaptured and made beautiful in melodious verse; always the bitter taste left upon the lips of those who have kissed overmuch and overlong. The attitude is always that of the man who scourges himself, uses the rod of passion, the whip of lust, or the knout of unfulfilled desire to make some almost perfect madrigal.
It must be remembered that we are dealing with a strange and esoteric personality. I have made it my method here to be concerned with facts alone, and those who would understand the poet must be content to draw their own deductions from these facts. It is no province of mine to pass any judgment, other than the pure æsthetic. Music has come from the experiments and agonies of genius. I analyse, that is all.
The best and simplest way to make it clear how much Swinburne owed to Baudelaire is by means of parallel quotation.
Let us take, for example, Baudelaire's poem "Causerie."
"Vous êtes un beau ciel d'automne, clair et rose!
Mais la tristesse en moi monte comme la mer,
Et laisse, en refluant, sur ma lèvre morose
Le souvenir cuisant de son limon amer.
" – Ta main se glisse en vain sur mon sein qui se pâme;
Ce qu'elle cherche, amie, est un lieu saccagé
Par la griffe et la dent féroce de la femme.
Ne cherchez plus mon cœur; les bêtes l'ont mangé.
"Mon cœur est un palais flétri par la cohue;
On s'y soûle, on s'y tue, on s'y prend aux cheveux!
– Un parfum nage autour de votre gorge nue!..
"O Beauté, dur fléau des âmes, tu le veux!
Avec tes yeux de feu, brillants comme des fêtes,
Calcine ces lambeaux qu'ont épargnés les bêtes!"
I have not included the poem in my own translations. But for those who find that French verse still presents some difficulty, I give an English version of "Causerie." It is fairly literal, it is more or less melodious in English. That it quite achieves the atmosphere of Baudelaire's poem I can hardly think. I have taken it from the little volume issued by the "Walter Scott" Publishing Company, in which, for some reason, it is called "The Eyes of Beauty."
"You are a sky of autumn, pale and rose;
But all the sea of sadness in my blood
Surges, and, ebbing, leaves my lips morose,
Salt with the memory of the bitter flood.
"In vain your hand glides my faint bosom o'er,
That which you seek, beloved, is desecrate
By woman's tooth and talon! ah; no more
Seek in me for a heart which those dogs ate.
"It is a ruin where the jackals rest,
And rend and tear and glut themselves and slay —
A perfume swims about your naked breast!
"Beauty, hard scourge of spirits, have your way!
With flame-like eyes that at bright feasts have flared
Bum up these tatters that the beasts have spared!"
Now let us come to Swinburne. If the following verses of "Laus Veneris" in "Ballads and Poems" are not directly derived from Baudelaire, I ask who indeed influenced the young Oxford poet in 1886?
"Me, most forsaken of all souls that fell;
Me, satiated with things insatiable;
Me, for whose sake the extreme hell makes mirth,
Yea, laughter kindles at the heart of hell.
"Alas thy beauty! for thy mouth's sweet sake
My soul is bitter to me, my limbs quake
As water, as the flesh of men that weep,
As their heart's vein whose heart goes nigh to break.
"Ah God, that sleep with flower-sweet finger-tips
Would crush the fruit of death upon my lips;
Ah God, that death would tread the grapes of sleep
And wring their juice upon me as it drips.
"There is no change of cheer for many days,
But change of chimes high up in the air, that sways
Rung by the running fingers of the wind;
And singing sorrows heard on hidden ways."
"I dare not always touch her, lest the kiss
Leave my lips charred. Yea, Lord, a little bliss,
Brief, bitter bliss, one hath for a great sin;
Natheless thou knowest how sweet a thing it is."
The verse of Swinburne is more musical, and has a wider range of imagery. But the passion is the same, the method is the same, and, for those who understand French as a Frenchman understands it, the "atmosphere" fails in the magic intensity that Baudelaire achieves.
This is one single instance. Those who are interested can pursue these comparisons between the two poets for themselves. They will be richly rewarded.
I have mentioned Walter Pater, that great artist in English who may be said to have succeeded Ruskin as the exponent of the most critical and refined thought of our time. When I say that he succeeded Ruskin I do not mean to imply that he has the slightest æsthetic affinity with the author of "Modern Painters." I only speak of him as having had as strong an influence upon later thought as Ruskin had upon his.
Pater was curious of everything in life and Art that offered a new sensation – that should enable men to realise themselves in the completest and most varied way. Baudelaire was certainly not Walter Pater's master in the same degree that he was the master of Swinburne and of Wilde. Yet, none the less certainly, the Frenchman's work made expression possible to the recluse of Oxford.
Hellenic thought, with its dangerous conclusions, was restated by Pater because "Les fleurs du Mal" had paved the way.
Here again, within the compass of a brief essay it is impossible to set forth these contentions in detail. But those who have read Baudelaire, and what Gautier says about him – those who have studied contemporary thought and contemporary literature when Pater began to weave his magical prose – will confirm what is no discovery of mine, but a fact of literature. They will recognise that, in the "Conclusion" of Walter Pater's "Renaissance" the following words could hardly have been written had it not been for the daring expression of the poet whom Frenchmen admit to be second to. Hugo alone.
"The service of philosophy, of speculative culture, towards the human spirit is to rouse, to startle it to a life of constant and eager observation. Every moment some form grows perfect in hand or face; some tone on the hills or the sea is choicer than the rest; some mood of passion or insight or intellectual excitement is irresistibly real and attractive for us – for that moment only. Not the fruit of experience, but experience itself, is the end. A counted number of pulses only is given to us of a variegated, dramatic life. How may we see in them all that is to be seen in them by the finest senses? How shall we pass most swiftly from point to point, and be present always at the focus where the greatest number of vital forces unite in their purest energy?
