Baudelaire uses these notions to express himself, others, and his art. The result is an amplified image of light: Baudelaire evokes the ecstasy of this image by juxtaposing it with the calm regularity of the rhythm in the beginning of the poem. The result is an amplified image of light: Baudelaire evokes the ecstasy of this image by juxtaposing it with he calm regularity of the rhythm in the beginning of the poem.
The speaker is now realizing that in the city because there are so many people, the speaker has a less chance of seeing a person again. This restriction of space is also a restriction of time, as the speaker feels his death quickly approaching.
After first evoking the accomplishments of great artists, the speaker proposes a voyage to a mythical world of his own creation.
He often lacked money for firewood and could not get out of bed for the cold. Usually, these same people go about their business with no more than a passing glance towards their fellow man. His life was filled with an immense amount of mental and physical suffering.
In this same line, the reader sees the distinction between life and non-life. The presence of the grieving Andromache evokes the theme of love in the city streets.
Unlike traditional poets who had only focused on the simplistically pretty, Baudelaire chose to fuel his language with horror, sin, and the macabre.
Like the abused albatross in the first section, the poet becomes an anxious and suffering soul. In contrast, the ideal represents a transcendence over the harsh reality of spleen, where love is possible and the senses are united in ecstasy.
Female demons, vampires, and monsters also consistently remind the speaker of his mortality.