In “The Jewels,” a poem composed of eight quatrains in regular Alexandrine lines, Charles Baudelaire records a portrait of his mulatto mistress dressed only in her jewelry. While the description will not seem excessively graphic to the modern reader, this poem was one of the ones responsible for the censure and withdrawal from sale of the first edition of Les Fleurs du mal (1857; Flowers of Evil, 1909).
The principal development of the poem follows a seduction scene in which the woman seduces, and thus psychologically dominates, the poet. The stage is set during the first two quatrains while the woman remains relatively passive. The poet is attracted to her, but his attention remains focused on her jewels. The only indication that the woman already controls the situation comes in the first line, where she is said to wear the jewels because she knows the poet’s heart. Yet rather than conveying a form of manipulation, this phrase may also be read as her desire to please him.
The description of the jewels contains elements that will fascinate the poet through a simultaneous appeal to his various senses. By the third quatrain, this fascination begins to have its effect. The poet appears below the woman, in a position suggesting adoration, while she smiles at him from the “height of the sofa.” Still, she remains passive, merely accepting his love that “rises up” to her.
In the fourth quatrain, the woman...
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