When a universal artist (such as were some of the Grecian artists or the Jewish prophets) composed his work, he naturally strove to say what he had to say in such a manner that his production should be intelligible to all men. But when an artist composed for a small circle of people placed in exceptional conditions, or even for a single individual and his courtiers,—for popes, cardinals, kings, dukes, queens, or for a king’s mistress,—he naturally only aimed at influencing these people, who were well known to him, and lived in exceptional conditions familiar to him. And this was an easier task, and the artist was involuntarily drawn to express himself by allusions comprehensible only to the initiated, and obscure to everyone else. In the first place, more could be said in this way; and secondly, there is (for the initiated) even a certain charm in the cloudiness of such a manner of expression. This method, which showed itself both in euphemism and in mythological and historical allusions, came more and more into use, until it has, apparently, at last reached its utmost limits in the so-called art of the Decadents. It has come, finally, to this: that not only is haziness, mysteriousness, obscurity, and exclusiveness (shutting out the masses) elevated to the rank of a merit and a condition of poetic art, but even incorrectness, indefiniteness, and lack of eloquence are held in esteem. Théophile Gautier, in his preface to the celebrated _Fleurs du Mal_, says that Baudelaire, as far as possible, banished from poetry eloquence, passion, and truth too strictly copied (“_l’éloquence, la passion, et la vérité calquée trop exactement_”). And Baudelaire not only expressed this, but maintained his thesis in his verses, and yet more strikingly in the prose of his _Petits Poèmes en Prose_, the meanings of which have to be guessed like a rebus, and remain for the most part undiscovered. The poet Verlaine (who followed next after Baudelaire, and was also esteemed great) even wrote an “_Art poétique_,” in which he advises this style of composition:— _De la musique avant toute chose, Et pour cela préfère l’Impair Plus vague et plus soluble dans l’air, Sans rien en lui qui pèse ou qui pose._ _Il faut aussi que tu n’ailles point Choisir tes mots sans quelque méprise: Rien de plus cher que la chanson grise Où l’Indécis au Précis se joint._ And again:— _De la musique encore et toujours! Que ton vers soit la chose envolée Qu’on sent qui fuit d’une âme en allée Vers d’autres cieux à d’autres amours._ _Que ton vers soit la bonne aventure Éparse au vent crispé du matin, Qui va fleurant la menthe et le thym ... Et tout le reste est littérature._[68]