In Charles Baudelaire’s ‘Correspondences’, referring directly to the thematic concept in the title, he shows the connection between Nature and the Metaphysical World. Synathesis is said to “put the reader in contact with the force of a perceptible presence, the primitive integrity or synthesis of an impression” (Hassan, 439). Through synathesis, in which sounds, colors and scented are brought together to create< /a> mental images by which all the senses are excited through the mind’s eye Baudelaire conveys to the reader the dramatic French symbolist impression of Art and Nature.
In the lines ‘corrupted, rich, triumphant, full’, scents, colors, sounds, and ‘Toss, musk, ambergris, Benjamin’ Baudelaire uses a rhetorical device in the words refer to the meaning of the entire poem and the riddle behind it; in addition to the parallelism, this is also an amplification of the main idea of the poem – sensitive experience combined with metaphysical importance. Hypozeugma in line with ‘smells, colors, sounds’ – everything corresponds to each other and in the whole poem are explained with interposed examples.
The antithesis is in the sense of ‘corrupted’ yet ‘triumphant’; The ‘confused speech of the pillars’, difficult to understand, sings the ‘rapture’ of the soul in a relatable sensory experience of humanity. It is a field of symbols that can be entered throughout life. a metaphor for the connection of all things outside to everything within; everything a person experiences, perceives and feels, everything is a gateway to his soul – the key is to observe everything and feel the connection. Temple nature< /a> ‘ and the ‘forest of symbols’ in which man walks, can also be seen metaphorically for Man and the attitude of the body (or the temple, which the soul tames) surrounded by it.
The use of chiaroscuro can be seen when the unity is deep, echoes the shadows, they are said to be ‘great as the night, as the brightness of the sun’; comparing night and day to a mixture of feelings. In every poem the synathesis is said to be “long resounds” and “living columns,” which breathe, confusing speech; with corresponding smells, colors and sounds; by scents which are as fresh as the skin of a child; green meadows and gentle oboes. These limitless sensory experiences sing the rapture of the senses and the soul. Baudelaire’s poem is undoubtedly a symbolic representation of his connection to his surroundings; with the use of metaphors, secret words, plenty of rhetoric, poetic chiaroscuro and synathesis, he takes the reader on a journey through nature’s correspondence with consciousness.
Works cited
Hassan, Ihab H. Baudelaire’s “Correspondence”: The Dialectic of Poetic Affinity. French Review 27 (1954): 437-445. JSTOR. http://links.jstor.org
