been trying to surpass him by increasing the dose; but his muse is the natural Pythia, inheriting her convulsions, while they eat all sorts of insane roots to produce theirs." This must have been written about 1872, and after reading it one would fancy Poe and Baudelaire were rhapsodic wrigglers on the poetic tripod, whereas their poetry is often reserved, even glacial. Baudelaire, like Poe, sometimes "built his nests with the birds of Night," and that was enough to condemn the work of both men with critics of the didactic school. Once, when Baudelaire heard that an American man-of-letters (?) was in Paris, he secured an introduction and called. Eagerly inquiring after Poe, he learned that he was not considered a genteel person in America. Baudelaire withdrew, muttering maledictions. Enthusiastic poet! Charming literary person! But the American, whoever he was, represented public opinion at the time. To-day criticisms of Poe are vitiated by the desire to make him an angel. It is to be doubted whether without his barren environment and hard fortunes we should have had Poe at all. He had to dig down deeper into the pit of his personality to reach the central core of his music. But every ardent young soul entering "literature" begins by a vindication of Poe's character. Poe was a man, and he is now a classic. He was a half-charlatan as was Baudelaire. In both the sublime and the sickly were never far asunder. The pair loved to mystify, to play pranks on their contemporaries. Both were implacable pessimists. Both were educated in affluence, and both had to face unprepared the hardships of life. The hastiest comparison of their poetic work will show that their only common ideal was the worship of an exotic beauty. Their artistic methods of expression were totally dissimilar. Baudelaire, like Poe, had a harp-like temperament which vibrated in the presence of strange subjects. Above all he was obsessed by sex. Woman, as angel of destruction, is the keynote of his poems. Poe was almost sexless. His aerial creatures never footed the dusty highways of the world. His lovely lines, "Helen, thy beauty is to me," could never have been written by Baudelaire; while Poe would never have pardoned the "fulgurant" grandeur, the Beethoven-like harmonies, the Dantesque horrors of that "deep wide music of lost souls" in "Femmes Damnées": Descendez, descendez, lamentables victimes. Or this, which might serve as a text for one of John Martin's vast sinister mezzotints: J'ai vu parfois au fond d'un théâtre banal Qu'enflammait l'orchestre sonore, Une fée allumer dans un ciel infernal Une miraculeuse aurore; J'ai vu parfois au fond d'un théâtre banal Un être, qui n'était que lumière, or et gaze, Terrasser l'énorme Satan; Mais mon cœur que jamais ne visite l'extase, Est un théâtre où l'on attend Toujours, toujours en vain l'Etre aux ailes de gaze.