Charles Baudelaire & Agnès Varda

Caryatids

Seems readers like the merging of poetry and film, last week’s post about Roy Andersson’s film featuring Peruvian poet César Vallejo’s poem ‘Stumble Between Two Stars’ has been my most popular post for 2020. Let’s continue the theme.

“The only female director of the French New Wave, Agnès Varda has been called both the movement’s mother and its grandmother” according to Criterion. Her short, 12 minute, film ‘Les dites cariatides’ (‘The So-Called Caryatides’) (1984) was made for French television, and features the music of Offenbach (his 1864 opera bouffe ‘La Belle Hélène’) and the poetry of Charles Baudelaire.

The film opens with a slow panning shot of a nude bronze sculpture light pole and then a nude man walking the streets of Paris. From the off the feminist themes abound, I won’t comment on these here, but if you’re after an explanation of the feminist themes in this short film I highly recommend the article “Wandering in the Presence of Women: Les dites cariatides” by Eloise Ross – click here for a link.

Caryatides, “the bearers of doors, lintels, capitals or balconies.” Agnès Varda tells us their origins and a brief history, whilst her camera pans from feet to head across a number of Parisian examples, from the late 19th century. In Paris there a twelve twin like men – “Pairs symmetrical but not identical” the males representing force and power, there are fifty twin like females, naked, bearing the weight on their heads, calm and composed.

Fleurs_du_mal

Poems from Charles Baudelaire’s ‘The Flowers of Evil’ are read by Agnès Varda, again whilst the camera pans the caryatides. The subtitles on the version of the film I watched were uncredited, so I can’t direct you to the translator, however I transposed a number of the lines and have managed to find three of the poems in ‘The Flowers of Evil’ (with very different translations).

Sonnet XLIII

What sayest thou, to-night, poor soul so drear,

What sayest—heart erewhile engulfed in gloom,

To the very lovely, very chaste, and very dear,

Whose god-like look hath made thee to re-bloom?

 

To her, with pride we chant an echoing Hymn,

For nought can touch the sweetness of her sway;

Her flesh ethereal as the seraphim,

Her eyes with robe of light our souls array.

 

And be it in the night, or solitude,

Among the streets or ‘mid the multitude,

Her shadow, torch-like, dances in the air,

 

And murmurs, “I, the Beautiful proclaim—

That for my sake, alone ye love the Fair;

I am the Guardian Angel, Muse and Dame!”

 

Illusionary Love

When I behold thee wander by, my languorous love,

To songs of viols which throughout the dome resound,

Harmonious and stately as thy footsteps move,

Bestowing forth the languor of thy glance profound.

 

When I regard thee, glowing in the gaslight rays,

Thy pallid brow embellished by a charm obscure,

Here where the evening torches light the twilight haze,

Thine eyes attracting me like those of a portraiture,

 

I say—How beautiful she is! how strangely rich!

A mighty memory, royal and commanding tower,

A garland: and her heart, bruised like a ruddy peach,

Is ripe—like her body for Love’s sapient power.

 

Art thou, that spicy Autumn-fruit with taste supreme?

Art thou a funeral vase inviting tears of grief?

Aroma—causing one of Eastern wastes to dream;

A downy cushion, bunch of flowers or golden sheaf?

 

I know that there are eyes, most melancholy ones,

Wherein no precious secret deeply hidden lies,

Resplendent shrines, devoid of relics, sacred stones,

More empty, more profound than ye yourselves, O skies?

 

Yea, does thy semblance, not alone for me suffice,

To kindle senses which the cruel truth abhor?

All one to me! thy folly or thy heart of ice,

Decoy or mask, all hail! thy beauty I adore!

 

Both of the above translated by Cyril Scott.

The third poem, the first Agnès Varda quotes is “Beauty”

Beauty

I am fair, O mortals! like a dream carved in stone,

And my breast where each one in turn has bruised himself

Is made to inspire in the poet a love

As eternal and silent as matter.

On a throne in the sky, a mysterious sphinx,

I join a heart of snow to the whiteness of swans;

I hate movement for it displaces lines,

And never do I weep and never do I laugh.

Poets, before my grandiose poses,

Which I seem to assume from the proudest statues,

Will consume their lives in austere study;

For I have, to enchant those submissive lovers,

Pure mirrors that make all things more beautiful:

My eyes, my large, wide eyes of eternal brightness!

Translated by William Aggeler, and if you’d like the original text with other translations click here.

More poetry on film and as I come across further examples I may post them here, Agnès Varda’s film may be short at only 12 minutes but it packs a lot into that time, worth hunting down.

3 thoughts on “Charles Baudelaire & Agnès Varda

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