Charles Baudelaire’s relationship with the Malay Pantun (specifically the Pantun Berkait) is a fascinating bridge between Southeast Asian oral tradition and French Symbolism.
While Baudelaire did not write in Malay, he was captivated by the structure of the pantun, which reached France in the 19th century. This influence culminated in one of his most famous masterpieces, "Harmonie du soir" (Evening Harmony).
1. The Origin: From "Pantun" to "Pantoum"
The Malay pantun was first introduced to the French literary scene by Victor Hugo in 1829, who included a translation of a Malay poem in his notes for Les Orientales.
In the process of adaptation, the French changed the name slightly to "Pantoum." While the original Malay form often involves a pembayang (allusive first two lines) and a maksud (the meaning in the last two lines), French poets like Baudelaire focused primarily on the repetitive, interlocking structure.
2. Baudelaire's Adaptation: "Harmonie du soir"
Published in his 1857 collection Les Fleurs du mal, "Harmonie du soir" is the most celebrated example of a Western pantoum.
How he used the structure:
- The Interlocking Pattern: In a true pantun style, the second and fourth lines of each stanza become the first and third lines of the following stanza.
- The Effect: This creates a circular, dizzying, and "languorous" feeling. For Baudelaire, this repetition mirrored the obsessive nature of memory and the "melancholy waltz" of a sunset.
| Baudelaire's Version | Malay Pantun Berkait |
| Focuses on emotional mood and atmosphere. | Traditionally balances nature imagery with a moral or romantic message. |
| Uses the ABBA rhyme scheme (modified). | Traditionally uses an ABAB rhyme scheme. |
| The repetition serves to intensify a "trance-like" state. | The repetition serves as a mnemonic and rhythmic device. |
3. Key Differences
Baudelaire was a "rebel" even with his influences. Unlike a strict Malay pantun:
- He used two rhymes throughout the entire poem rather than changing them.
- He did not strictly return to the very first line of the poem at the end (a common feature of the closed-loop pantun), instead choosing to end on a powerful original line: "Ton souvenir en moi luit comme un ostensoir!" (Your memory shines in me like a monstrance!).
Why it matters
This cross-cultural adoption shows how a Southeast Asian folk form provided the perfect technical "cage" for the French Symbolists to express complex, repetitive human emotions.
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12 January 2026: 8.58 p.m
