Baudelaire's diction in these translations often pivots between the ornate and the brutally concrete. In 'The Little Old Women,' the phrase 'dislocated monsters that of old / Were lovely women' yokes physical decay to a remembered grace, while the simile 'eyes that shine like pools where water sleeps at night' turns the aged gaze into something both still and alive. The translator preserves the poet's habit of lodging abstract nouns—'Ennui,' 'Spleen,' 'Disaster'—as active agents in the line, a choice that gives the verse a personifying momentum.

Huneker's preface, meanwhile, adopts a conversational, essayistic tone, debunking myths about De Quincey and Poe before turning to Baudelaire. His prose is more discursive than the poems it introduces, offering a counterpoint in register: where the verse compresses, Huneker expands.

Urban Grotesques and the Aging Body

Baudelaire's eye for the city's marginal figures is evident in 'The Seven Old Men' and 'The Little Old Women.' The former presents a procession of 'hideous monsters' with 'the mien of beings immortal,' a paradox that turns decrepitude into a kind of terrible permanence. The speaker's flight—'I turned / My back upon the infernal band'—and the closing image of the soul as 'an outworn wreck, / Mastless, upon a monstrous, shoreless sea' extend the physical grotesque into a psychological vertigo.

In 'The Little Old Women,' the poet instructs: 'Let us still love them, for they still have souls.' The body is described in mechanical terms—'marionettes,' 'a clapping bell'—yet the eyes retain 'the astonished and divine eyes of a child.' This tension between the broken shell and the persistent inner life recurs throughout the collection. The old women are 'Refuse of Time ripe for Eternity,' a phrase that compresses both waste and harvest into a single line.

Synesthetic Correspondences

The sonnet 'Correspondences' (listed in the contents) is a touchstone for Baudelaire's theory of sensory fusion, but the principle appears in smaller moments across the poems. In 'The Little Old Women,' the old woman 'drank the music in' from a military band, and the sound is described as 'the brazen music' that 'Reddened the heavens with a crimson wound'—a mingling of auditory and visual, sound staining the sky. The 'piercing eyes' of the old women 'shine like pools where water sleeps at night,' a simile that gives the visual a liquid, nocturnal quality.

This habit of linking senses is not merely decorative; it structures the poet's perception of the city as a field of interwoven stimuli. The 'swarming picture that is Paris' is both seen and heard, and the figures within it are apprehended through a mesh of analogies that blur the boundaries between sense modalities.

Compression and the Prose Poem Form

The volume's second half, 'Little Poems in Prose,' shifts from metered verse to a more flexible prose line. Titles such as 'The Stranger,' 'Every Man His Chimæra,' and 'The Double Chamber' suggest a turn toward interior states and allegorical vignettes. The prose poem form allows Baudelaire to retain the density of imagery—'The Gifts of the Moon,' 'The Invitation to the Voyage'—while loosening the syntactic constraints of the sonnet or alexandrine.

In the excerpts provided, the prose poems are not reproduced, but their presence in the table of contents signals a deliberate formal pairing. The verse poems often build to a final, epigrammatic couplet; the prose poems, by contrast, can end on a suspended image or a rhetorical question. This structural variety within a single volume invites comparison between the two modes, particularly in how each handles the grotesque or the fantastical.

Huneker's Preface as Counterpoint

James Huneker's introductory essay occupies a distinct tonal space from the poems. His prose is anecdotal and debunking: he opens by dismissing 'the sentimental' legends about De Quincey's opium use and Poe's drinking, citing Dr. Guerrier's research. The voice is that of a skeptical man of letters, fond of asides ('alas! into what faded limbo have they vanished') and of puncturing received ideas.

This preface does not attempt to explicate the poems that follow; instead, it provides a biographical and cultural frame. Huneker mentions Gautier's 'revolutionary red waistcoat' and corrects it to 'a pink doublet,' a small but characteristic gesture. The reader encountering the poems after this introduction may feel a shift from the worldly, gossipy tone of the preface to the intense, often morbid interiority of the verse. The contrast itself becomes an editorial feature: the poems resist the very mythologizing that Huneker gently dismantles.

Readers may find it useful to move between the verse and prose sections, noting how the same preoccupations—aging, the city, sensory overload, the grotesque—take different formal shapes. The translations, while early twentieth-century in idiom, preserve Baudelaire's habit of making the abstract concrete and the concrete strange. Huneker's preface, for all its charm, is best read as a period piece rather than a critical guide; the poems themselves reward attention to their compressed imagery and shifting tonal registers.