Poezii de charles baudelaire

Orbii
O, suflete, privete-i! sunt triti i singuratici
Ridicoli fr voie, sinistre manechine
intind spre nicierea priviri de umbr pline
Netiutori de lume, cu umblet de lunatici.
Pe faa lor se stinge a cerului lumin!
Ei ochii i-i ndreapt spre larga deprtare
i-aa cum trec pe strad spre-o-nchipuit zare
Orict de greu li-e gndul, ei fruntea nu i-o-nclin.
Se pierd prin noaptea sor cu venica tcere...
Tu rzi i cni, cetate cu lacom plcere
i voluptatea vieii cu frenezie-o sorbi.
M vezi numai pe mine, mai jalnic dect ei
Iar inima m-ntreab, cnd trec cu paii grei
- De ce-i ridic ochii spre cer, srmanii orbi?
sonet de Charles Baudelaire

Charles BAUDELAIRE (1821-1867)

Les aveugles
Contemple-les, mon me ; ils sont vraiment affreux !
Pareils aux mannequins, vaguement ridicules ;
Terribles, singuliers comme les somnambules,
Dardant on ne sait o leurs globes tnbreux.
Leurs yeux, d'o la divine tincelle est partie,
Comme s'ils regardaient au loin, restent levs
Au ciel ; on ne les voit jamais vers les pavs
Pencher rveusement leur tte appesantie.
Ils traversent ainsi le noir illimit,
Ce frre du silence ternel. cit !
Pendant qu'autour de nous tu chantes, ris et beugles,
Eprise du plaisir jusqu' l'atrocit,
Vois, je me trane aussi ! mais, plus qu'eux hbt,
Je dis : Que cherchent-ils au Ciel, tous ces aveugles ?

Charles Baudelaire
From Wikipedia, the free encyclopedia
Charles Baudelaire

Charles Baudelaire by tienne Carjat, 1863

Born

Charles Pierre Baudelaire

April 9, 1821
Paris, France

Died

August 31,
1867 (aged 46)
Paris, France

Occupation

Poet, art critic

Nationality

French

Period

18441866

Literary
movement

Symbolist, Modernist

Signature
French literature
by category

French literary history

Medieval
Renaissance
17th
18th
19th
20th century
Contemporary
French writers
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v
t
e
Charles Pierre Baudelaire (/bodlr/;[1] French: [al bodl] ( listen); April
9, 1821 August 31, 1867) was a French poet who also produced notable work as
an essayist, art critic, and pioneering translator of Edgar Allan Poe.
His most famous work, Les Fleurs du mal (The Flowers of Evil), expresses the
changing nature of beauty in modern, industrializing Paris during the 19th
century. Baudelaire's highly original style of prose-poetry influenced a whole
generation of poets including Paul Verlaine, Arthur Rimbaud and Stphane
Mallarm among many others. He is credited with coining the term "modernity"
(modernit) to designate the fleeting, ephemeral experience of life in an urban
metropolis, and the responsibility art has to capture that experience. [2]
Contents
[hide]

1Baudelaire the poet

1.1Early life

1.2Published career
1.2.1The Flowers of Evil

1.3Final years
2Critiques

2.1Edgar Allan Poe

2.2Eugne Delacroix

2.3Richard Wagner

2.4Thophile Gautier

2.5douard Manet

2.6Nadar
3Philosophy

3.1Love

3.2Marriage

3.3The artist

3.4Pleasure

3.5Politics

3.6The public

3.7Time

4Influence

5Works
o

5.1Musical adaptations
6See also

7References

8External links
8.1Online texts

8.1.1Single works

Baudelaire the poet[edit]

Who among us has not dreamt, in moments of ambition, of the miracle of a
poetic prose, musical without rhythm and rhyme, supple and staccato enough to
adapt to the lyrical stirrings of the soul, the undulations of dreams, and sudden
leaps of consciousness. This obsessive idea is above all a child of giant cities, of
the intersecting of their myriad relations.
Dedication of Le Spleen de Paris
Baudelaire is one of the major innovators in French literature. His poetry is
influenced by the French romantic poets of the earlier 19th century, although its
attention to the formal features of verse connects it more closely to the work of
the contemporary "Parnassians". As for theme and tone, in his works we see the
rejection of the belief in the supremacy of nature and the fundamental goodness
of man as typically espoused by the romantics and expressed by them in
rhetorical, effusive and public voice in favor of a new urban sensibility, an
awareness of individual moral complexity, an interest in vice (linked
with decadence) and refined sensual and aesthetic pleasures, and the use of
urban subject matter, such as the city, the crowd, individual passers-by, all
expressed in highly ordered verse, sometimes through a cynical and ironic voice.
Formally, the use of sound to create atmosphere, and of "symbols" (images that
take on an expanded function within the poem), betray a move towards
considering the poem as a self-referential object, an idea further developed by
the Symbolists Verlaine and Mallarm, who acknowledge Baudelaire as a pioneer
in this regard.
Beyond his innovations in versification and the theories of symbolism and
"correspondences", an awareness of which is essential to any appreciation of the
literary value of his work, aspects of his work that regularly receive (or have
received) much critical discussion include the role of women, the theological
direction of his work and his alleged advocacy of "satanism", his experience of
drug-induced states of mind, the figure of the dandy, his stance regarding
democracy and its implications for the individual, his response to the spiritual
uncertainties of the time, his criticisms of the bourgeois, and his advocacy of
modern music and painting (e.g., Wagner, Delacroix).
Early life[edit]

Baudelaire was born in Paris, France, on April 9, 1821, and baptized two months
later at Saint-Sulpice Roman Catholic Church.[3] His father, Franois Baudelaire, a
senior civil servant and amateur artist, was 34 years older than Baudelaire's
mother. Franois died during Baudelaire's childhood, in 1827. The following year,
Caroline married Lieutenant Colonel Jacques Aupick, who later became a French
ambassador to various noble courts. Biographers have often seen this as a crucial
moment, considering that finding himself no longer the sole focus of his mother's
affection left him with a trauma, which goes some way to explaining the excesses
later apparent in his life. He stated in a letter to her that, "There was in my
childhood a period of passionate love for you." [4] Baudelaire regularly begged his
mother for money throughout his career, often promising that a lucrative
publishing contract or journalistic commission was just around the corner.
Baudelaire was educated in Lyon, where he boarded. Baudelaire at fourteen was
described by a classmate: "He was much more refined and distinguished than
any of our fellow pupils [...] we are bound to one another [...] by shared tastes
and sympathies, the precocious love of fine works of literature." [5] Baudelaire was
erratic in his studies, at times diligent, at other times prone to "idleness". Later,
he attended the Lyce Louis-le-Grand in Paris, studying law, a popular course for
those not yet decided on any particular career. Baudelaire began to frequent
prostitutes and may have contracted gonorrhea and syphilis during this period.
Baudelaire began to run up debts, mostly for clothes. 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." [6]

Portrait of Baudelaire, painted in 1844 by Emile Deroy (18201846)

His stepfather sent him on a voyage to Calcutta, India, in 1841 in the hope of
ending his dissolute habits. The trip provided strong impressions of the sea,
sailing, and exotic ports, that he later employed in his poetry. [7] (Baudelaire later
exaggerated his aborted trip to create a legend about his youthful travels and
experiences, including "riding on elephants".) Baudelaire returned to the taverns

where he began to compose some of the poems of "Les Fleurs du Mal". At 21, he
received a good-sized inheritance but squandered much of it within a few years.
His family obtained a decree to place his property in trust, [8] which he resented
bitterly, at one point arguing that allowing him to fail alone financially would have
been the one sure way of teaching him the value of maintaining well-ordered
finances.
Baudelaire became known in artistic circles as a dandy and free-spender. During
this time, Jeanne Duval became his mistress. His mother thought Duval a "Black
Venus" who "tortured him in every way" and drained him of money at every
opportunity.[9] She was rejected by his family. He made a suicide attempt during
this time.
Baudelaire took part in the Revolutions of 1848 and wrote for a revolutionary
newspaper. However, his interest was passing, as he was later to note in his
political writings in his journals.
In the early 1850s, Baudelaire struggled with poor health, pressing debts, and
irregular literary output. He often moved from one lodging to another to escape
creditors. He received 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. At 36 he wrote her: "believe that I belong to you absolutely, and
that I belong only to you".[10]
Published career[edit]
His first published work was his art review "Salon of 1845", which attracted
immediate attention for its boldness. 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. His support of Delacroix as the
foremost Romantic artist gained widespread notice. [11] The following year
Baudelaire's novella La Fanfarlo was published.

The Flowers of Evil[edit]

The first edition of Les Fleurs du mal with author's notes

Baudelaire was a slow and fastidious worker, often sidetracked by indolence,
emotional distress and illness, and it was not until 1857 that he published his first
and most famous volume of poems, Les Fleurs du mal (The Flowers of Evil).
[12]
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.[13][14]Some of the poems had also
previously appeared a "fugitive verse" in various French magazines during the
previous decade.[15]
The poems found a small, appreciative audience, but greater public attention was
given to their subject matter. The effect on fellow artists was, asThodore de
Banville stated, "immense, prodigious, unexpected, mingled with admiration and
with some indefinable anxious fear".[16] Gustave Flaubert, recently attacked in a
similar fashion for Madame Bovary (and acquitted), was impressed and wrote to
Baudelaire: "You have found a way to rejuvenate Romanticism.... You are as
unyielding as marble, and as penetrating as an English mist." [17]
The principal themes of sex and death were considered scandalous. He also
touched on lesbianism, sacred and profane love, metamorphosis, melancholy, the
corruption of the city, lost innocence, the oppressiveness of living, and wine.
Notable in some poems is Baudelaire's use of imagery of the sense of smell and
of fragrances, which is used to evoke feelings of nostalgia and past intimacy.[18]
The book, however, quickly became a byword for unwholesomeness among
mainstream critics of the day. Some critics called a few of the poems
"masterpieces of passion, art and poetry" but other poems were deemed to merit
no less than legal action to suppress them. [19] J. Habas writing in Le Figaro, led the
charge against Baudelaire, writing: "Everything in it which is not hideous is
incomprehensible, everything one understands is putrid." Then Baudelaire
responded to the outcry, in a prophetic letter to his mother:

"You know that I have always considered that literature and the arts pursue an
aim independent of morality. Beauty of conception and style is enough for me.
But this book, whose title (Fleurs du mal) says everything, is clad, as you will see,
in a cold and sinister beauty. It was created with rage and patience. Besides, the
proof of its positive worth is in all the ill that they speak of it. The book enrages
people. Moreover, since I was terrified myself of the horror that I should inspire, I
cut out a third from the proofs. They deny me everything, the spirit of invention
and even the knowledge of the French language. I don't care a rap about all these
imbeciles, and I know that this book, with its virtues and its faults, will make its
way in the memory of the lettered public, beside the best poems of V. Hugo, Th.
Gautier and even Byron."[20]

Illustration cover for Les paves, by Baudelaire's friendFlicien Rops

Baudelaire, his publisher and the printer were successfully prosecuted for
creating an offense against public morals. They were fined, but Baudelaire was
not imprisoned.[21] Six of the poems were suppressed, but printed later as Les
paves (The Wrecks) (Brussels, 1866). Another edition of Les Fleurs du mal,
without these poems, but with considerable additions, appeared in 1861. Many
notables rallied behind Baudelaire and condemned the sentence. Victor
Hugo wrote to him: "Your fleurs du mal shine and dazzle like stars.... I applaud
your vigorous spirit with all my might."[22] Baudelaire did not appeal the
judgment, but his fine was reduced. Nearly 100 years later, on May 11, 1949,
Baudelaire was vindicated, the judgment officially reversed, and the six banned
poems reinstated in France.[22]
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 ofsins and lies
as the poet:
... If rape or arson, poison or the knife
Has wove no pleasing patterns in the stuff
Of this drab canvas we accept as life

It is because we are not bold enough!

(Roy Campbell's translation)
Final years[edit]

Charles Baudelaire by Nadar, 1855

Baudelaire next worked on a translation and adaptation of Thomas
De Quincey's Confessions of an English Opium Eater.[23] Other works
in the years that followed included Petits Pomes en
prose (Small Prose poems); a series of art reviews published in
the Pays, Exposition universelle (Country, World Fair); studies
on Gustave Flaubert (in L'Artiste, October 18, 1857); on Thophile
Gautier (Revue contemporaine, September 1858); various articles
contributed to Eugene Crepet's Potes francais; Les Paradis
artificiels: opium et haschisch (French poets; Artificial Paradises:
opium and hashish) (1860); and Un Dernier Chapitre de l'histoire
des oeuvres de Balzac (A Final Chapter of the history of works of
Balzac) (1880), originally an article "Comment on paye ses dettes
quand on a du gnie" ("How one pays one's debts when one has
genius"), in which his criticism turns against his friends Honor de
Balzac,Thophile Gautier, and Grard de Nerval.[13]

Jeanne Duval, in a painting bydouard Manet

Apollonie Sabatier, muse and one time mistress, painted by Vincent

Vidal

Cenotaph of Charles Baudelaire, Montparnasse Cemetery

By 1859, his illnesses, his long-term use of laudanum, his life of
stress and poverty had taken a toll and Baudelaire had aged
noticeably. But at last, his mother relented and agreed to let him
live with her for a while at Honfleur. Baudelaire was productive and
at peace in the seaside town, his poem Le Voyage being one
example of his efforts during that time.[24] In 1860, he became an
ardent supporter ofRichard Wagner.
His financial difficulties increased again, however, particularly after
his publisher Poulet Malassis went bankrupt in 1861. In 1864, he
left Paris for Belgium, partly in the hope of selling the rights to his
works and also to give lectures.[25] His long-standing relationship
withJeanne Duval continued on-and-off, and he helped her to the
end of his life. Baudelaire's relationships with actress Marie
Daubrun and with courtesan Apollonie Sabatier, though the source
of much inspiration, never produced any lasting satisfaction. He
smoked opium, and in Brussels he began to drink to excess.
Baudelaire suffered a massive stroke in 1866 and paralysisfollowed.
After more than a year of aphasia, he received the last rites of the
Catholic Church.[26] The last two years of his life were spent, in a
semi-paralyzed state, in "maisons de sant" in Brussels and in
Paris, where he died on August 31, 1867. Baudelaire is buried in
the Cimetire du Montparnasse, Paris.
Many of Baudelaire's works were published posthumously. After his
death, his mother paid off his substantial debts, and at last she
found some comfort in Baudelaire's emerging fame. "I see that my
son, for all his faults, has his place in literature." She lived another
four years.
Critiques[edit]
Baudelaire was an active participant in the artistic life of his times.
As critic and essayist, he wrote extensively and perceptively about
the luminaries and themes of French culture. He was frank with
friends and enemies, rarely took the diplomatic approach and
sometimes responded violently verbally, which often undermined
his cause.[27] His associations were numerous and included: Gustave
Courbet, Honor Daumier, Franz Liszt, Champfleury, Victor
Hugo, Gustave Flaubert, Balzac and the artists and writers that
follow.
Edgar Allan Poe[edit]
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. Baudelaire had much in
common with Poe (who died in 1849 at age forty). The two poets
display a similar sensibility of the macabre and supernatural turn of
mind; each struggled with illness, poverty, and melancholy. Like
Poe, Baudelaire believed in the doctrine of original sin, denounced
democracy and the idea of progress and of man's natural goodness,
and Poe held a disdainful aristocratic attitude similar to
Baudelaire's dandy.[28]Baudelaire saw in Poe a precursor and tried
to be his French contemporary counterpart. [29] From this time until
1865, he was largely occupied with translating Poe's works; his
translations were widely praised. Baudelaire was not the first
French translator of Poe, but his "scrupulous translations" were
considered among the best. These were published as Histoires
extraordinaires (Extraordinary stories) (1852), Nouvelles histoires
extraordinaires (New extraordinary stories) (1857), Aventures
d'Arthur Gordon Pym, Eureka, and Histoires grotesques et
srieuses (Grotesque and serious stories) (1865). Two essays on
Poe are to be found in his Oeuvres compltes (Complete works)
(vols. v. and vi.).
Eugne Delacroix[edit]
A strong supporter of the Romantic painter Delacroix, Baudelaire
called him "a poet in painting". Baudelaire also absorbed much of
Delacroix's aesthetic ideas as expressed in his journals. 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 ... plaintive and profound like a melody by
Weber."[11] Delacroix, though appreciative, kept his distance from
Baudelaire, particularly after the scandal of Les Fleurs du mal. In
private correspondence, Delacroix stated that Baudelaire "really
gets on my nerves" and he expressed his unhappiness with
Baudelaire's persistent comments about "melancholy" and
"feverishness".[30]
Richard Wagner[edit]
Baudelaire had no formal musical training, and knew little of
composers beyond Beethoven and Carl Maria von Weber. Weber
was in some ways Wagner's precursor, using theleitmotif and
conceiving the idea of the "total art work" ("Gesamtkunstwerk"),
both of which gained Baudelaire's admiration. Before even hearing
Wagner's music, Baudelaire studied reviews and essays about him,
and formulated his impressions. Later, Baudelaire put them into his
non-technical analysis of Wagner, which was highly regarded,
particularly his essay "Richard Wagner et Tannhuser Paris".

[31]

Baudelaire's reaction to music was passionate and

psychological. "Music engulfs (possesses) me like the sea." [31] After
attending three Wagner concerts in Paris in 1860, Baudelaire wrote
to the composer: "I had a feeling of pride and joy in understanding,
in being possessed, in being overwhelmed, a truly sensual pleasure
like that of rising in the air."[32] Baudelaire's writings contributed to
the elevation of Wagner and to the cult of Wagnerism that swept
Europe in the following decades.
Thophile Gautier[edit]
Gautier, writer and poet, earned Baudelaire's respect for his
perfection of form and his mastery of language, though Baudelaire
thought he lacked deeper emotion and spirituality. Both strove to
express the artist's inner vision, which Heinrich Heine had earlier
stated: "In artistic matters, I am a supernaturalist. I believe that the
artist can not find all his forms in nature, but that the most
remarkable are revealed to him in his soul." [33] Gautier's frequent
meditations on death and the horror of life are themes which
influenced Baudelaire writings. In gratitude for their friendship and
commonality of vision, Baudelaire dedicated Les Fleurs du mal to
Gautier.
douard Manet[edit]
Manet and Baudelaire became constant companions from around
1855. In the early 1860s, Baudelaire accompanied Manet on daily
sketching trips and often met him socially. Manet also lent
Baudelaire money and looked after his affairs, particularly when
Baudelaire went to Belgium. Baudelaire encouraged Manet to strike
out on his own path and not succumb to criticism. "Manet has great
talent, a talent which will stand the test of time. But he has a weak
character. He seems to me crushed and stunned by shock." [34] In his
painting Music in the Tuileries, Manet includes portraits of his
friends Thophile Gautier, Jacques Offenbach, and Baudelaire.
[35]
While it's difficult to differentiate who influenced whom, both
Manet and Baudelaire discussed and expressed some common
themes through their respective arts. Baudelaire praised the
modernity of Manet's subject matter: "almost all our originality
comes from the stamp that 'time' imprints upon our
feelings."[36] When Manet's famous Olympia (1863), a portrait of a
nude prostitute, provoked a scandal for its blatant realism mixed
with an imitation of Renaissance motifs, Baudelaire worked
privately to support his friend, though he offered no public defense
(he was, however, ill at the time). When Baudelaire returned from
Belgium after his stroke, Manet and his wife were frequent visitors

at the nursing home and she would play passages from Wagner for
Baudelaire on the piano.[37]
Nadar[edit]
Nadar (Flix Tournachon) was a noted caricaturist, scientist and
important early photographer. Baudelaire admired Nadar, one of his
closest friends, and wrote: "Nadar is the most amazing
manifestation of vitality."[38] They moved in similar circles and
Baudelaire made many social connections through him. Nadar's exmistress Jeanne Duval became Baudelaire's mistress around 1842.
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". Photography should not, according to Baudelaire, encroach
upon "the domain of the impalpable and the imaginary". [39]Nadar
remained a stalwart friend right to Baudelaire's last days and wrote
his obituary notice in Le Figaro.
Philosophy[edit]
Many of Baudelaire's philosophical proclamations were considered
scandalous and intentionally provocative in his time. He wrote on a
wide range of subjects, drawing criticism and outrage from many
quarters.
Love[edit]
"There is an invincible taste for prostitution in the heart of man,
from which comes his horror of solitude. He wants to be 'two'. The
man of genius wants to be 'one'.... It is this horror of solitude, the
need to lose oneself in the external flesh, that man nobly calls 'the
need to love'."[40]
Marriage[edit]
"Unable to suppress love, the Church wanted at least to disinfect it,
and it created marriage."[40]
The artist[edit]
"The more a man cultivates the arts, the less randy he becomes....
Only the brute is good at coupling, and copulation is the lyricism of
the masses. To copulate is to enter into anotherand the artist
never emerges from himself."[40]
Pleasure[edit]

"Personally, I think that the unique and supreme delight lies in the
certainty of doing 'evil'and men and women know from birth that
all pleasure lies in evil."[40]
"But what can eternity of damnation matter to someone who has
felt, if only for a second, the infinity of delight??"
Politics[edit]
Along with Poe, Baudelaire named the arch-reactionary Joseph de
Maistre as his matre penser[41] and adopted increasingly
aristocratic views. In his journals, he wrote "There is no form of
rational and assured government save an aristocracy. A monarchy
or a republic, based upon democracy, are equally absurd and
feeble. The immense nausea of advertisements. There are but
three beings worthy of respect: the priest, the warrior and the poet.
To know, to kill and to create. The rest of mankind may be taxed
and drudged, they are born for the stable, that is to say, to practise
what they call professions." [42]
The public[edit]
"In this regards, my friend, you're like the public, to whom one
should never offer a delicate perfume. It exasperates them. Give
them only carefully selected garbage." [43]
Time[edit]
"The will to work must dominate, for art is long and time is
brief."[43] (quoting Hippocrates)
"Each man bears within himself his own dose of natural opium,
incessantly secreted and renewed, and, from birth to death, how
many hours can we count filled with pleasure,with prosperous and
effective action?" [43]
Influence[edit]

Portrait by Gustave Courbet, 1848

Baudelaire's influence on the direction of modern French (and
English) language literature was considerable. The most significant
French writers to come after him were generous with tributes; four
years after his death, Arthur Rimbaud praised him in a letter as 'the
king of poets, a true God'.[44] In 1895, Stphane Mallarm published
a sonnet in Baudelaire's memory, 'Le Tombeau de Charles
Baudelaire'.Marcel Proust, in an essay published in 1922, stated
that along with Alfred de Vigny, Baudelaire was 'the greatest poet
of the nineteenth century'.[45]
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.[46] In 1930, T. S. Eliot, while
asserting that Baudelaire had not yet received a "just appreciation"
even in France, claimed that the poet had "great genius" and
asserted that his "technical mastery which can hardly be
overpraised ... has made his verse an inexhaustible study for later
poets, not only in his own language".[47] Eliot also alluded to
Baudelaire's poetry directly in his own poetry. For example, he
quoted the last line of Baudelaire's 'Au Lecteur' in the last line of
Section I of 'The Waste Land.'
At the same time that Eliot was affirming Baudelaire's importance
from a broadly conservative and explicitly Christian viewpoint,
[48]
left-wing critics such as Wilson and Walter Benjamin were able to
do so from a dramatically different perspective. Benjamin
translated Baudelaire's Tableaux Parisiens into German and
published a major essay on translation[49] as the foreword.
In the late 1930s, Benjamin used Baudelaire as a starting point and
focus for his monumental attempt at a materialist assessment of
19th-century culture, Das Passagenwerk.[50]For Benjamin,
Baudelaire's importance lay in his anatomies of the crowd, of the
city and of modernity.[51] Franois Porche published a poetry
collection called Charles Baudelaire: Poetry Collection in memory of
Baudelaire.
In 1982, avant-garde performance artist and vocalist Diamanda
Gals recorded an adaptation of his poem The Litanies of
Satan (Les Litanies de Satan).

The song "How Beautiful You Are" by The

Cure from their 1987 album Kiss Me, Kiss
Me, Kiss Me was inspired by and based

on Baudelaire's poem "The Eyes of the

Poor".[52]
The 1998 Spanglish classic novel Yo-Yo Boing! by Giannina
Braschi features a debate between artists and writers on the
greatness of Baudlelaire versus Arthur Rimbaud andAntonin Artaud.
[53]

in 2002, alt-rock band ...And You Will Know Us by the Trail of

Dead included a song titled "Baudelaire" on their album Source
Tags and Codes.
In 2008, the Italian band Baustelle dedicates to him the song
"Baudelaire" on its album Amen.
The 2011 Latin American postcolonial novel "United States of
Banana" by Giannina Braschi features cameo appearances by
Baudelaire, along with fellow poets Antonin Artaud,Arthur
Rimbaud, Csar Vallejo and Rubn Daro.[54]
The Baudelaires, protagonists of Lemony Snicket's A Series of
Unfortunate Events, were named after him.[55]
Vanderbilt University has "assembled one of the world's most
comprehensive research collections on ... Baudelaire". [56]
The Japanese comic or manga Aku no Hana, by Shz Oshimi, is
inspired by Baudelaire's Les Fleurs du mal. The anime was aired in
2013 and drew attention due to its heavy use
of rotoscope animation. The protagonist in both manga and the
anime, Takao Kasuga, is a bookworm whose favorite book is Les
fleurs du mal, translated in Japanese asAku no Hana.
Les Fleurs du mal has a number of scholarly references. [57]
Works[edit]
Baudelaire, Bibliothque de la Pliade, uvres
compltes (Complete Works), volume I.

Salon de 1845, 1845

Salon de 1846, 1846

La Fanfarlo, 1847

Les Fleurs du mal, 1857

Les paradis artificiels, 1860

Rflexions sur Quelques-uns de mes Contemporains, 1861

Le Peintre de la Vie Moderne, 1863

Curiosits Esthtiques, 1868

L'art romantique, 1868

Le Spleen de Paris, 1869

Oeuvres Posthumes et Correspondance Gnrale, 18871907

Fuses, 1897

Mon Coeur Mis Nu, 1897

Oeuvres Compltes, 192253 (19 vols.)

Mirror of Art, 1955

The Essence of Laughter, 1956

Curiosits Esthtiques, 1962

The Painter of Modern Life and Other Essays, 1964

Baudelaire as a Literary Critic, 1964

Arts in Paris 18451862, 1965

Selected Writings on Art and Artist, 1972

Selected Letters of Charles Baudelaire, 1986

Twenty Prose Poems, 1988

Critique d'art; Critique musicale, 1992

Musical adaptations[edit]

French composer Claude Debussy set five of Baudelaire's poems

to music in 1890: Le Balcon, Harmonie du soir, Le Jet
d'eau, Recueillement and La Mort des amants.

French singer-songwriter Lo Ferr devoted himself to set

Baudelaire's poetry into music in three albums: Les Fleurs du

mal in 1957 (12 poems), Lo Ferr chante Baudelaire in 1967

(24 poems, including one from Le Spleen de Paris), and the
posthumous Les Fleurs du mal (suite et fin) (21 poems),
recorded in 1977 but released in 2008.

Soviet/Russian composer David Tukhmanov has set Baudelaire's

poem to music (cult album On a Wave of My Memory, 1975).[58]

Warwickshire poet Sin Lavinia Anas Valeriana, artist name The

Raveness, is known to adore Baudelaire and written in homage
to his work featured on her best selling poetry record 'Of blood
and absinthe'(2011) is a poem entitled Sinful Extraordinaire a
poem earlier published in her book Lavinia Volume
one (2006) ISBN 9781502313966.

American avant-garde composer, vocalist and

performer Diamanda Gals made an interpretation in original
French of Les Litanies de Satan from Le Fleurs du Mal, in her
debut album titled The Litanies of Satan, which consists of tape
and electronics effects with layers of her voice.

French singer David TMX recorded the poem "Lesbos" from The
Flowers of Evil.

French metal/shoegaze groups Alcest and Amesoeurs used his

poetry for the lyrics of the tracks "lvation" (on Le Secret) and
"Recueillement" (on Amesoeurs), respectively.Celtic Frost used
his poem Tristesses de la lune as a lyrics for song on album Into
the Pandemonium.

Israeli singer Maor Cohen's 2005 album, the Hebrew name of

which translates to French as "Les Fleurs Du Mal", is a
compilation of songs from Baudelaire's book of the same name.
The texts were translated to Hebrew by Israeli poet Dori Manor,
while the music was composed by Cohen himself.

Italian singer Franco Battiato set Invitation au voyage to music

as Invito Al Viaggio on his 1999 album Fleurs (Esempi Affini Di
Scritture E Simili).

American composer Gerard Pape set Tristesses de la

lune/Sorrows of the Moon from Fleurs du Mal for voice and
electronic tape.

French band Marc Seberg wrote an adaptation of Recueillement

for their 1985 album Le Chant Des Terres.

Russian heavy metal band Black Obelisk used Russian

translations of several Baudelaire poems as lyrics for their
songs.

French singer Mylene Farmer performed "L'Horloge" to music

by Laurent Boutonnat on the album" Ainsi soi je" and the
opening number of her 1989 concert tour.

German aggrotech band C-Drone-Defect used the translation of

"Le Rebelle" by Roy Campbell as lyrics for the song "Rebellis" on
their 2009 album "Dystopia".

English rock band The Cure used the translation of "Les yeux
des pauvres" as lyrics for the song "How Beautiful You Are".

French singer-songwriter and musician Serge Gainsbourg has

set Baudelaire's poem "Dancing Snake" (Le serpent qui danse)
to music in his 1964 song "Baudelaire".

See also[edit]

Les Aveugles

31 Translations of
Spleen
by Nicholas Moore

Le Balcon

Translated into English by 20

different translators

Mag4.net

Excellent Arthur Rimbaud site,

in French

Contemple-les, mon me; ils sont vraiment affreux!

Pareils aux mannequins; vaguement ridicules;
Terribles, singuliers comme les somnambules;
Dardant on ne sait o leurs globes tnbreux.
Leurs yeux, d'o la divine tincelle est partie,
Comme s'ils regardaient au loin, restent levs
Au ciel; on ne les voit jamais vers les pavs
Pencher rveusement leur tte appesantie.
Ils traversent ainsi le noir illimit,
Ce frre du silence ternel. cit!
Pendant qu'autour de nous tu chantes, ris et beugles,
Eprise du plaisir jusqu' l'atrocit,
Vois! je me trane aussi! mais, plus qu'eux hbt,
Je dis: Que cherchent-ils au Ciel, tous ces aveugles?
Charles Baudelaire

The Blind

Contemplate them, my soul; they are truly frightful!

Like mannequins; vaguely ridiculous;
Strange and terrible, like somnambulists;
Darting, one never knows where, their tenebrous orbs.
Their eyes, from which the divine spark has departed,
Remain raised to the sky, as if they were looking
Into space: one never sees them toward the pavement
Dreamily bend their heavy heads.
Thus they go across the boundless darkness,
That brother of eternal silence. O city!
While about us you sing, laugh, and bellow,
In love with pleasure to the point of cruelty,
See! I drag along also! but, more dazed than they,
I say: "What do they seek in Heaven, all those blind?"
William Aggeler, The Flowers of Evil (Fresno, CA:
Academy Library Guild, 1954)

The Blind
My soul, survey them, dreadful as they seem.
Like marionettes, ridiculous they stare.
Strange as somnambulists that, in their dream,
Dart shadowy orbs around we know not where.
Their eyes, from which the heavenly spark has flown
Remain uplifted, as in distant quest,
Skyward: but never on the paving stone
Do they pore dreamingly or come to rest.
They traverse thus the illimitable Dark,
Twin of eternal Silence. While the City
May sing around us, bellow, laugh, or bark,
By pleasure blinded even to horror, I,
Too, drag my way, but, more a thing of pity,
Ask what the Blind are seeking there on high.
Roy Campbell, Poems of Baudelaire (New York:
Pantheon Books, 1952)

The Blind
Look at them, Soul! They are horrible. Lo! there,
Like shrunk dwarfs, vaguely ludicrous; yet they keep
An aspect strange as those who walk in sleep.
Rolling their darkened orbs one knows not where.
Their eyes, from which the godlike spark has flown,
Stare upward at the sky as though to see
Some far thing; never hang they dreamily
Those eyes toward the barren pavement-stone.
Thus cross they the illimitable dark,
That brother of eternal silence. Mark!
O frenzied city, as thou roarest by.
Drunk with thy song and laughter, I too stray
With crawling feet! but ask, more dull than they,
"What seek they, all these blind men, in the sky?"
Jack Collings Squire, Poems and Baudelaire
Flowers (London: The New Age Press, Ltd, 1909)