La Nature est un temple où de vivants piliers
Laissent parfois sortir de confuses paroles;
L'homme y passe à travers des forêts de symboles
Qui l'observent avec des regards familiers.
Comme de longs échos qui de loin se confondent
Dans une ténébreuse et profonde unité,
Vaste comme la nuit et comme la clarté,
Les parfums, les couleurs et les sons se répondent.
II est des parfums frais comme des chairs d'enfants,
Doux comme les hautbois, verts comme les prairies,
- Et d'autres, corrompus, riches et triomphants,
Ayant l'expansion des choses infinies,
Comme l'ambre, le musc, le benjoin et l'encens,
Qui chantent les transports de l'esprit et des sens.
(Correspondences, Charles Baudelaire)
(translations:
http://fleursdumal.org/poem/103)
It can be regarded as a matter of style syntax. Why leave "
the inaudible poetry a man recites to the world" ( :)MA) elliptic in the department of such a paramount sense? Would we enjoy a walk in the woods as much if we were deprived of the subtle perfumes of nature? A (well-chosen) fragrance can change all the meaning of how we are perceived. For better or for worse - true!...
So... not a matter in itself, perfumes; rather, a matter of context, of putting together - of correspondences. Only they carry us from the world of senses and perceptions to that of spirit and ideas. And if you think a bit about the third stanza, the synesthetic trigger is "perfume"! Fresh like baby skin, soft as oboes (wow!...), green like prairies - take your pick. I don't want to miss out on that!
Michael, it's not "sillage", it is "l'expansion des choses infinies", "Qui chantent les transports de l'esprit"... when the elevator goes up, of course!