Amazon.in Page
I read the 1909 Cyril Scott translation of Baudelaire’s poetry collection. It consists of 54 poems, including “Condemned Women” but not including others of the six poems that were banned in early editions and which only came to be included in later editions. (I did look up and read a couple translations each for the six poems — because censorship can’t be allowed to prevail. Not surprisingly, they are calm by today’s standards. It should be noted that Baudelaire played in symbolism, and so his poems – while ahead of their time in subject matter – didn’t tend toward explicit vulgarity in the first place.)
The Scott translation is all in rhymed verse, the largest share of it presented as sonnets — though there are some longer pieces (longer, but not long. It’s a quick read.) “The Broken Bell” and “Spleen” were highlights for me, but the whole collection is intriguing, evocative, and readable.
I enjoyed this collection tremendously, even with such an old translation. The hedonism, eroticism, and macabre of Baudelaire’s work creates an intense tone.
I’d highly recommend this collection for all poetry readers.
I knew a simple soldier boy Who grinned at life in empty joy, Slept soundly through the lonesome dark, And whistled early with the lark.
In winter trenches, cowed and glum, With crumps and lice and lack of rum, He put a bullet through his brain. No one spoke of him again.
You smug-faced crowds with kindling eye Who cheer when soldier lads march by, Sneak home and pray you'll never know The hell where youth and laughter go.
The tide rises, the tide falls, The twilight darkens, the curlew calls; Along the sea-sands damp and brown The traveller hastens toward the town, And the tide rises, the tide falls.
Darkness settles on roofs and walls, But the sea, the sea in the darkness calls; The little waves, with their soft, white hands, Efface the footprints in the sands, And the tide rises, the tide falls.
The morning breaks; the steeds in their stalls Stamp and neigh, as the hostler calls; The day returns, but nevermore Returns the traveller to the shore, And the tide rises, the tide falls.
Life has loveliness to sell, All beautiful and splendid things, Blue waves whitened on a cliff, Soaring fire that sways and sings, And children's faces looking up Holding wonder like a cup.
Life has loveliness to sell, Music like a curve of gold, Scent of pine trees in the rain, Eyes that love you, arms that hold, And for your spirit's still delight, Holy thoughts that star the night.
Spend all you have for loveliness, Buy it and never count the cost; For one white singing hour of peace Count many a year of strife well lost, And for a breath of ecstasy Give all you have been, or could be.
Why fades a dream? An iridescent ray Flecked in between the tryst Of night and day. Why fades a dream? -- Of consciousness the shade Wrought out by lack of light and made Upon life's stream. Why fades a dream? That thought may thrive, So fades the fleshless dream; Lest men should learn to trust The things that seem. So fades a dream, That living thought may grow And like a waxing star-beam glow Upon life's stream -- So fades a dream.
The splendour falls on castle walls And snowy summits in old story: The long light shakes across the lakes, And the wild cataract leaps in glory. Blow, bugle, blow, set the wild echoes flying, Blow, bugle; answer, echoes, dying, dying, dying.
O hark, O hear! how thin and clear, And thinner, clearer, farther going! O sweet and far from cliff and scar The horns of Elfland faintly blowing! Blow, let us hear the purple glens replying: Blow, bugle; answer, echoes, dying, dying, dying.
O love, they die in yon rich sky, They faint on hill or field or river: Our echoes roll from soul to soul, And grow for ever and for ever. Blow, bugle, blow, set the wild echoes flying, And answer, echoes, answer, dying, dying, dying,