Charles Pierre Baudelaire (, ; ; 9 April 1821 – 31 August 1867) was a French poet who also produced notable work as an essayist, art critic, as well as one of the first translators of Edgar Allan Poe.
He is credited with coining the term modernity (modernité) to designate the fleeting, ephemeral experience of life in an urban metropolis, and the responsibility of artistic expression to capture that experience. ==Early life== Baudelaire was born in Paris, France, on 9 April 1821, and baptized two months later at Saint-Sulpice Roman Catholic Church.
Joseph-François died during Baudelaire's childhood, at rue Hautefeuille, Paris, on February 10, 1827.
Upon gaining his degree in 1839, he told his brother "I don't feel I have a vocation for anything." His stepfather had in mind a career in law or diplomacy, but instead Baudelaire decided to embark upon a literary career.
His mother later recalled: "Oh, what grief! If Charles had let himself be guided by his stepfather, his career would have been very different...He would not have left a name in literature, it is true, but we should have been happier, all three of us." His stepfather sent him on a voyage to Calcutta, India in 1841 in the hope of ending his dissolute habits.
Nadar's ex-mistress Jeanne Duval became Baudelaire's mistress around 1842.
At 36, he wrote her: "believe that I belong to you absolutely, and that I belong only to you." His mother died on 16 August 1871, outliving her son by almost four years. ==Published career== His first published work, under the pseudonym Baudelaire Dufaÿs, was his art review "Salon of 1845", which attracted immediate attention for its boldness.
Les Fleurs du mal has a number of scholarly references. ==Works== Salon de 1845, 1845 Salon de 1846, 1846 La Fanfarlo, 1847 Les Fleurs du mal, 1857 Les paradis artificiels, 1860 Réflexions sur Quelques-uns de mes Contemporains, 1861 Le Peintre de la Vie Moderne, 1863 Curiosités Esthétiques, 1868 L'art romantique, 1868 Le Spleen de Paris, 1869.
Many of his critical opinions were novel in their time, including his championing of Delacroix, and some of his views seem remarkably in tune with the future theories of the Impressionist painters. In 1846, Baudelaire wrote his second Salon review, gaining additional credibility as an advocate and critic of Romanticism.
As Baudelaire elaborated in his "Salon of 1846", "As one contemplates his series of pictures, one seems to be attending the celebration of some grievous mystery...This grave and lofty melancholy shines with a dull light..
Les Fleurs du mal has a number of scholarly references. ==Works== Salon de 1845, 1845 Salon de 1846, 1846 La Fanfarlo, 1847 Les Fleurs du mal, 1857 Les paradis artificiels, 1860 Réflexions sur Quelques-uns de mes Contemporains, 1861 Le Peintre de la Vie Moderne, 1863 Curiosités Esthétiques, 1868 L'art romantique, 1868 Le Spleen de Paris, 1869.
His associations were numerous, including Gustave Courbet, Honoré Daumier, Félicien Rops, Franz Liszt, Champfleury, Victor Hugo, Gustave Flaubert, and Balzac. ===Edgar Allan Poe=== In 1847, Baudelaire became acquainted with the works of Poe, in which he found tales and poems that had, he claimed, long existed in his own brain but never taken shape.
Les Fleurs du mal has a number of scholarly references. ==Works== Salon de 1845, 1845 Salon de 1846, 1846 La Fanfarlo, 1847 Les Fleurs du mal, 1857 Les paradis artificiels, 1860 Réflexions sur Quelques-uns de mes Contemporains, 1861 Le Peintre de la Vie Moderne, 1863 Curiosités Esthétiques, 1868 L'art romantique, 1868 Le Spleen de Paris, 1869.
Baudelaire made a suicide attempt during this period. He took part in the Revolutions of 1848 and wrote for a revolutionary newspaper.
However, his interest in politics was passing, as he was later to note in his journals. In the early 1850s, Baudelaire struggled with poor health, pressing debts, and irregular literary output.
Baudelaire became interested in photography in the 1850s, and denouncing it as an art form, advocated its return to "its real purpose, which is that of being the servant to the sciences and arts".
Some of these poems had already appeared in the Revue des deux mondes (Review of Two Worlds) in 1855, when they were published by Baudelaire's friend Auguste Poulet Malassis.
In gratitude for their friendship and commonality of vision, Baudelaire dedicated Les Fleurs du mal to Gautier. ===Édouard Manet=== Manet and Baudelaire became constant companions from around 1855.
He undertook many projects that he was unable to complete, though he did finish translations of stories by Edgar Allan Poe. Upon the death of his stepfather in 1857, Baudelaire received no mention in the will but he was heartened nonetheless that the division with his mother might now be mended.
However, he often was sidetracked by indolence, emotional distress and illness, and it was not until 1857 that he published Les Fleurs du mal (The Flowers of Evil), his first and most famous volume of poems.
Les Fleurs du mal has a number of scholarly references. ==Works== Salon de 1845, 1845 Salon de 1846, 1846 La Fanfarlo, 1847 Les Fleurs du mal, 1857 Les paradis artificiels, 1860 Réflexions sur Quelques-uns de mes Contemporains, 1861 Le Peintre de la Vie Moderne, 1863 Curiosités Esthétiques, 1868 L'art romantique, 1868 Le Spleen de Paris, 1869.
In 1860, he became an ardent supporter of Richard Wagner. His financial difficulties increased again, however, particularly after his publisher Poulet Malassis went bankrupt in 1861.
In the early 1860s, Baudelaire accompanied Manet on daily sketching trips and often met him socially.
Les Fleurs du mal has a number of scholarly references. ==Works== Salon de 1845, 1845 Salon de 1846, 1846 La Fanfarlo, 1847 Les Fleurs du mal, 1857 Les paradis artificiels, 1860 Réflexions sur Quelques-uns de mes Contemporains, 1861 Le Peintre de la Vie Moderne, 1863 Curiosités Esthétiques, 1868 L'art romantique, 1868 Le Spleen de Paris, 1869.
Another edition of Les Fleurs du mal, without these poems, but with considerable additions, appeared in 1861.
In 1860, he became an ardent supporter of Richard Wagner. His financial difficulties increased again, however, particularly after his publisher Poulet Malassis went bankrupt in 1861.
Les Fleurs du mal has a number of scholarly references. ==Works== Salon de 1845, 1845 Salon de 1846, 1846 La Fanfarlo, 1847 Les Fleurs du mal, 1857 Les paradis artificiels, 1860 Réflexions sur Quelques-uns de mes Contemporains, 1861 Le Peintre de la Vie Moderne, 1863 Curiosités Esthétiques, 1868 L'art romantique, 1868 Le Spleen de Paris, 1869.
Les Fleurs du mal has a number of scholarly references. ==Works== Salon de 1845, 1845 Salon de 1846, 1846 La Fanfarlo, 1847 Les Fleurs du mal, 1857 Les paradis artificiels, 1860 Réflexions sur Quelques-uns de mes Contemporains, 1861 Le Peintre de la Vie Moderne, 1863 Curiosités Esthétiques, 1868 L'art romantique, 1868 Le Spleen de Paris, 1869.
In 1864, he left Paris for Belgium, partly in the hope of selling the rights to his works and to give lectures.
From this time until 1865, he was largely occupied with translating Poe's works; his translations were widely praised.
Six of the poems were suppressed, but printed later as Les Épaves (The Wrecks) (Brussels, 1866).
Baudelaire suffered a massive stroke in 1866 and paralysis followed.
Charles Pierre Baudelaire (, ; ; 9 April 1821 – 31 August 1867) was a French poet who also produced notable work as an essayist, art critic, as well as one of the first translators of Edgar Allan Poe.
The last two years of his life were spent in a semi-paralyzed state in "maisons de santé" in Brussels and in Paris, where he died on 31 August 1867.
Les Fleurs du mal has a number of scholarly references. ==Works== Salon de 1845, 1845 Salon de 1846, 1846 La Fanfarlo, 1847 Les Fleurs du mal, 1857 Les paradis artificiels, 1860 Réflexions sur Quelques-uns de mes Contemporains, 1861 Le Peintre de la Vie Moderne, 1863 Curiosités Esthétiques, 1868 L'art romantique, 1868 Le Spleen de Paris, 1869.
Les Fleurs du mal has a number of scholarly references. ==Works== Salon de 1845, 1845 Salon de 1846, 1846 La Fanfarlo, 1847 Les Fleurs du mal, 1857 Les paradis artificiels, 1860 Réflexions sur Quelques-uns de mes Contemporains, 1861 Le Peintre de la Vie Moderne, 1863 Curiosités Esthétiques, 1868 L'art romantique, 1868 Le Spleen de Paris, 1869.
Paris Spleen (Contra Mundum Press: 2021) Translations from Charles Baudelaire, 1869 (Early English translation of several of Baudelaire's poems, by Richard Herne Shepherd) Oeuvres Posthumes et Correspondance Générale, 1887–1907 Fusées, 1897 Mon Coeur Mis à Nu, 1897.
At 36, he wrote her: "believe that I belong to you absolutely, and that I belong only to you." His mother died on 16 August 1871, outliving her son by almost four years. ==Published career== His first published work, under the pseudonym Baudelaire Dufaÿs, was his art review "Salon of 1845", which attracted immediate attention for its boldness.
Paris Spleen (Contra Mundum Press: 2021) Translations from Charles Baudelaire, 1869 (Early English translation of several of Baudelaire's poems, by Richard Herne Shepherd) Oeuvres Posthumes et Correspondance Générale, 1887–1907 Fusées, 1897 Mon Coeur Mis à Nu, 1897.
In 1895, Stéphane Mallarmé published "Le Tombeau de Charles Baudelaire", a sonnet in Baudelaire's memory.
Paris Spleen (Contra Mundum Press: 2021) Translations from Charles Baudelaire, 1869 (Early English translation of several of Baudelaire's poems, by Richard Herne Shepherd) Oeuvres Posthumes et Correspondance Générale, 1887–1907 Fusées, 1897 Mon Coeur Mis à Nu, 1897.
Marcel Proust, in an essay published in 1922, stated that along with Alfred de Vigny, Baudelaire was "the greatest poet of the nineteenth century". In the English-speaking world, Edmund Wilson credited Baudelaire as providing an initial impetus for the Symbolist movement by virtue of his translations of Poe.
Benjamin translated Baudelaire's Tableaux Parisiens into German and published a major essay on translation as the foreword. In the late 1930s, Benjamin used Baudelaire as a starting point and focus for Das Passagenwerk, his monumental attempt at a materialist assessment of 19th-century culture.
In a lecture delivered in French on "Edgar Allan Poe and France" (Edgar Poe et la France) in Aix-en-Provence in April 1948, Eliot stated that "I am an English poet of American origin who learnt his art under the aegis of Baudelaire and the Baudelairian lineage of poets." Eliot also alluded to Baudelaire's poetry directly in his own poetry.
Nearly 100 years later, on May 11, 1949, Baudelaire was vindicated, the judgment officially reversed, and the six banned poems reinstated in France. In the poem "Au lecteur" ("To the Reader") that prefaces Les Fleurs du mal, Baudelaire accuses his readers of hypocrisy and of being as guilty of sins and lies as the poet: ...
The French journalist Hugues Royer mentioned several allusions and interpretations of Baudelaire's poems and quotations used by Farmer in various songs in his book "Mylène" (published in 2008). In 2009 the Italian rock band C.F.F.
The French journalist Hugues Royer mentioned several allusions and interpretations of Baudelaire's poems and quotations used by Farmer in various songs in his book "Mylène" (published in 2008). In 2009 the Italian rock band C.F.F.
Paris Spleen (Contra Mundum Press: 2021) Translations from Charles Baudelaire, 1869 (Early English translation of several of Baudelaire's poems, by Richard Herne Shepherd) Oeuvres Posthumes et Correspondance Générale, 1887–1907 Fusées, 1897 Mon Coeur Mis à Nu, 1897.
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