To the extent that he considered politics in his later years, his outlook was anti-egalitarian and anti-activist—reminiscent of the aristrocratic conservatism represented by Poe and de Maistre, in other words: “There is no form of rational and assured government save an aristocracy. Marcel Proust, in an essay published in 1922, stated that along with Alfred de Vigny, Baudelaire was "the greatest poet of the nineteenth century". Biographies were also quickly available: Asselineau’s anecdotal Charles Baudelaire, sa vie et son oeuvre was published two years after the poet’s death; the first scholarly biography of Baudelaire was written by Jacques Crépet in 1887 and completed by his son Eugène in 1907: Baudelaire. The condemned poems were excised, and the book went back on sale. In 1847 he published his only novella, Although he does not develop an aesthetic theory in, Despite several halfhearted attempts to indulge his parents’ desire for his settled employment, throughout the 1840s Baudelaire was committed to his vocation as a poet, and as an artist he did his best to absorb the “spectacle” of Parisian life by living the life of a bohemian and a dandy. The effect on fellow artists was, as Théodore de Banville stated, "immense, prodigious, unexpected, mingled with admiration and with some indefinable anxious fear". At a pinch, a semantic translation has to interpret, a communicative translation to explain. In “Abel et Caïn” the narrative voice urges Cain to ascend to heaven and throw God to earth. In his correspondence Rimbaud called him a “génie, un voyant” (genius, a visionary). Baudelaire’s three love cycles reflect his experiences with three different women—Duval, Daubrun, and Mme Sabatier—and discussions of his love poems are often organized around the poems associated with each woman. After a long period of incubation, of familial reproaches that he had wasted his life, and of a reputation based on potential, a few publications, and force of personality, Baudelaire came into his own as a literary personage in the 1850s. 11 poems published between 1844 and 1847 in L’Artiste under the name of Privat d’Anglemont—another friend in Baudelaire’s literary circle—have been attributed to Baudelaire, and in fact nine of these poems have been included in the definitive Pléiade edition of Baudelaire’s collected works published 1975–1979. The lament of all who have suffered losses is emphasized by an enjambment that forces a quick draw of breath right before the end of the sentence and that accents the finality of “jamais” (never) at the beginning of the next sentence: À quiconque a perdu ce qui ne se retrouve. When she finally responded to him, however, he dropped her with a letter in which he tells her that her capitulation, whether it was physical or emotional, had turned her from a Goddess into “a mere woman.” Despite the direct stares of Nadar’s famous photographs, Baudelaire’s was a complex personality. There are some harsh, disturbing poems in Le Spleen de Paris —“Le Gâteau” (The Cake), for example, which is about a fratricidal war between two natives over a piece of cake. Baudelaire’s reputation as the father of modern poetry about cities is largely based on the “Tableaux Parisiens,” which describe the streets of Paris in such gritty detail; the importance of these street scenes for the poet, though, is that he usually plunges into them with the desire to transcend them. Relations among family members soured. Ever the perfectionist, Baudelaire wanted to oversee the production of the manuscript. He also began to run up debts, mostly for clothes. 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. This landmark year marks a shift in his creative endeavors from poetry in verse to poetry in prose: thereafter most of his creative publications are prose poems. “Le Vampire” (The Vampire) is about the symbiosis of the vampire woman and the enslaved poet. In 1938 Celan went to Paris to study medicine, but returned to Romania before the outbreak of World War II. His poetry is read for those moments when, as Baudelaire wrote in his notebook, “la profonder de la vie se révèle tout entière dans le spectacle, si ordinaire qu’il soit, qu’on a sous les yeux. In 1845, he published his first work. In addition to the disappointment of the lecture series, Baudelaire did not make contact with Lacroix, who never accepted his invitations. Baudelaire does not just treat Beauty as an abstract phenomenon; he also writes about individual women. [7] Joseph-François died during Baudelaire's childhood, at rue Hautefeuille, Paris, on February 10, 1827. In “A Arsène Houssaye” he states that the ideal that obsesses him is born “surtout de la fréquentation des villes énormes, ... du croisement de leurs innombrables rapports” (especially from frequenting large cities, ... from the interconnection of their innumerable points of relationship). His professional social activity continued throughout his life, and in the course of his literary career he became acquainted with writers such as Victor Hugo, Charles-Augustin Sainte-Beuve, and Théophile Gautier. Baudelaire was never without literary acquaintances. “Assommons les Pauvres” (Let’s Knock Out the Poor) concludes with the speaker sharing his purse with a beggar, but it is after having beaten him like “cooks who want to tenderize a steak.”, It is true, though, that whereas Baudelaire most often offers visions of beauty in Les Fleurs du mal, he commonly and sympathetically treats the poor in Le Spleen de Paris. Such complexity is again evident in “Confession,” when the “aimable et douce femme” (amiable and sweet woman) confesses her “horrible” lack of faith in humanity. None of these people became major poets, but they were involved in Baudelaire’s first ventures with poetry. While the speaker in the poems of Les Fleurs du mal sought escape, in the prose poem “Déjà!” Baudelaire describes a speaker who had escaped on a boat that then returned to shore. Charles Asselineau in Charles Baudelaire: Sa vie et son oeuvre (1869) describes Baudelaire as accepted and blossoming with success after 1861. "[14] His mother died on 16 August 1871, outliving her son by almost four years. At the time he wrote Salon de 1846 Baudelaire believed that Romanticism represented the ideal, and he presents the painter Eugène Delacroix as the best artist in that tradition. Literature Essay Examples. 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. : Typescript, Hayward Bequest [held at King's College Archives, University of Cambridge]; subsequently adapted for the lecture later published as. She was much admired as a tasteful, witty, intelligent woman, and her social evenings were attended by artists such as Théophile Gautier, Maxime Du Camp, Ernest Feydeau, and Flaubert. [3], His most famous work, a book of lyric poetry titled Les Fleurs du mal (The Flowers of Evil), expresses the changing nature of beauty in the rapidly industrializing Paris during the mid-19th century. In the important Salon de 1846 Baudelaire critiques particular artists and in a more general way lays the groundwork for the ideas about art that he continued to develop in his “Salon de 1859,” first published in Revue française in June and July of that year, and up until his essay “Le Peintre de la vie moderne” (The Painter of Modern Life), which appeared in Le Figaro in November and December of 1863. He had already had a bout with gonorrhea by this time and had picked up syphilis, the disease that was probably the cause of his death. . The novel A Singular Conspiracy (1974) by Barry Perowne is a fictional treatment of the unaccounted period in Edgar Allan Poe's life from January to May 1844, in which (among other things) Poe becomes involved with a young Baudelaire in a plot to expose Baudelaires' stepfather to blackmail, to free up Baudelaires' patrimony. Photography should not, according to Baudelaire, encroach upon "the domain of the impalpable and the imaginary". In gratitude for their friendship and commonality of vision, Baudelaire dedicated Les Fleurs du mal to Gautier. Baudelaire suffered a massive stroke in 1866 and paralysis followed. [44] Nadar remained a stalwart friend right to Baudelaire's last days and wrote his obituary notice in Le Figaro. Baudelaire’s health had been deteriorating for some time. In the 1860s Baudelaire diversified from poetry in verse to literary activity in several different spheres. The definitive online edition of this masterpiece of French literature, Fleursdumal.org contains every poem of each edition of Les Fleurs du mal, together with multiple English translations.. After his death, his mother paid off his substantial debts, and she found some comfort in Baudelaire's emerging fame. Manet also lent Baudelaire money and looked after his affairs, particularly when Baudelaire went to Belgium. The works of one painter, for example, are witheringly dismissed: “chaque année les ramène avec leurs mêmes désespérantes perfections” (each year brings them back with the same depressing perfections); another painter’s works, writes Baudelaire, recall the pictures of travel brochures and evoke a China “où le vent lui-même, dit H. Heine, prend un son comique en passant par les clochettes;—et où la nature et l’homme ne peuvent pas se regarder sans rire” (where the wind itself, says H. Heine, sounds comical as it blows through bells; and where nature and man cannot look at each other without laughing). Baudelaire’s only collection of verse is composed of six sections: “Spleen et Idéal” (Spleen and the Ideal), “Tableaux Parisiens” (Parisian Tableaus), “Le Vin” (Wine), “Fleurs du mal” (Flowers of Evil), “Révolte” (Revolt), and “La Mort” (Death). Upon gaining his degree in 1839, he told his brother "I don't feel I have a vocation for anything." Early in his career Baudelaire’s reputation was more solidly based on his nonpoetic publications. [20], The poems found a small, yet appreciative audience. Baudelaire’s work has had a tremendous influence on modernism, and his relatively slim production of poetry in particular has had a significant impact on later poets. The press was solicitous of Baudelaire’s corrections, and Poulet-Malassis became a devoted friend: he lent Baudelaire large sums of money though he himself eventually went bankrupt and to debtor’s prison for his own debts; he tended to Baudelaire during his last days in Brussels, though the writer had signed over Poulet-Malassis’s legal rights on some works to the publisher Hetzel; and when on his deathbed Baudelaire chose Lévy to publish his Oeuvres complètes , Poulet-Malassis loyally rallied to the cause, ceding his legally exclusive rights to Baudelaire’s works and doing what he could to help produce a satisfactory edition. Even though he had no record of solid achievements, Baudelaire, with his compelling personality, had the ability to impress others, and he was already deliberately cultivating his image with eccentric stories designed to shock and test his acquaintances. About one month after Les Fleurs du mal went on sale in July 1857, a report was drawn up by the Sûreté Publique (Public Safety) section of the Ministry of the Interior stating that the collection was in contempt of the laws that safeguard religion and morality. I take technical translation as potentially (but far from actually) non-cultural, Étude biographique revue et complétée par Jacques Crépet. Baudelaire met Duval in the early 1840s and lived with her periodically, but by the late 1840s he was writing to his mother that life with her had become a duty and a torment. Nadar (Félix Tournachon) was a noted caricaturist, scientist and important early photographer. It is worth noting that in his preface Baudelaire refers to the form of the work as “prose lyrique.” He does not in the collection refer to the works as poems in prose, and the title, Le Spleen de Paris, petits poèmes en prose was chosen after Baudelaire’s death by editors and critics. Baudelaire admired Nadar, one of his close friends, and wrote: "Nadar is the most amazing manifestation of vitality. This anthology established contact between Baudelaire and his first major biographer, Crépet. [31] 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. Seagull Books (estd 1982) has been crafting books with an eye to both exceptional content and radical design. Baudelaire is not a diabolic preacher; with C. S. Lewis, he would point out that Satan is part of the Christian cosmology. A series of repetitions compounds the initial sense of urgency. Moreover, since I was terrified myself of the horror that I should inspire, I cut out a third from the proofs. The poem begins with an abrupt exclamation, “Andromaque, je pense à vous!” (Andromache, I am thinking of you!). Though echoes of her favorite poets—Blake, Keats, Baudelaire, Yeats, and TS Eliot—may sometimes be heard in her verse, Darkmoon’s work is marked above all by a lush exoticism and otherworldliness. In the 1980s and 1990s the prose poems seem to have become a particularly appealing topic for scholars of Baudelaire. After the naming of the conseil judiciaire he affirmed a new identity by changing his name to Baudelaire-Dufayis, adding his mother’s maiden name to his father’s family name (this gesture lasted until the Revolution of 1848). This compassion can take strange forms—the speaker of “Les Yeux des pauvres” (The Eyes of the Poor) is so moved by a family of poor people that he hates the companion he had loved for her lack of sympathy. Baudelaire’s poetry has gone beyond what was once selective appreciation on the one hand and widespread notoriety on the other to general acclaim. Vous ne ressemblez à personne (ce qui est la première de toutes les qualités). He stated in a letter to her that, "There was in my childhood a period of passionate love for you. [24] J. Habas led the charge against Baudelaire, writing in Le Figaro: "Everything in it which is not hideous is incomprehensible, everything one understands is putrid." To save Baudelaire from his debts, a family council was called in which it was decided to send him on a long voyage in June of 1841, paid for from his future inheritance (the parents later agreed to pay for it themselves as a gesture of goodwill). During this time, Jeanne Duval became his mistress. His mother later recalled: "Oh, what grief! 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. Another edition of Les Fleurs du mal, without these poems, but with considerable additions, appeared in 1861. The following year, Caroline married Lieutenant Colonel Jacques Aupick, who later became a French ambassador to various noble courts. Eliot, 'Religion in Literature', in Eliot, op. For other uses, see, "By modernity I mean the transitory, the fugitive, the contingent which make up one half of art, the other being the eternal and the immutable." 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. He made Paris the subject of modern poetry. Gautier and even Byron. In 1864, he left Paris for Belgium, partly in the hope of selling the rights to his works and to give lectures. “Le Voyage” surveys the disappointed hopes of speakers who have traveled far and wide only to find what “Au lecteur” had promised, “Une oasis d’horreur dans un désert d’ennui” (An oasis of horror in a desert of tedium). "Scraps" and censored poems were collected in Les Épaves in 1866. He rose repeatedly during speeches for the May 4 elections to interrupt idealistic speakers with pointed, embarrassing questions. Baudelaire's 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. Similarly, Baudelaire’s use and mastery of traditional technique revolutionized French poetry by so clearly representing a unique sensibility. The book, however, quickly became a byword for unwholesomeness among mainstream critics of the day. Weber was in some ways Wagner's precursor, using the leitmotif and conceiving the idea of the "total art work" ("Gesamtkunstwerk"), both of which gained Baudelaire's admiration. Baudelaire’s “Doctrine of Correspondences” suggests a belief of sorts in a pattern for the world and in relationships between the physical world and a spiritual one. In, After a long period of incubation, of familial reproaches that he had wasted his life, and of a reputation based on potential, a few publications, and force of personality, Baudelaire came into his own as a literary personage in the 1850s. This collection, which has been growing in popularity among critics, still contains much to be explored. In his correspondence he refers to the prose poems as a “pendant” (a completion of) to Les Fleurs du mal. There is certainly a progression from “Au lecteur” (To the Reader), the poem that serves as the frontispiece, to “Le Voyage,” the final poem. Her position as an independent woman who had a history with men placed her in the demimonde, the “half-world” that is neither part of “le monde,” the world of social acceptability and prominence, nor part of the underworld of prostitutes. In 1862 he published 20 prose poems in La Presse . . […] There are but three beings worthy of respect: the priest, the warrior and the poet. Woodburytype of a portrait of Charles Baudelaire by Étienne Carjat. Unlike Bertrand’s “picturesque” topics, Baudelaire associates his new language with the modern topic of the city. Baudelaire’s first publications of poetry were probably disguised, for reasons known only to himself. He knew, however, that he was in no condition to do so. Later, he attended the Lycée Louis-le-Grand in Paris, studying law, a popular course for those not yet decided on any particular career. To intercede with the government on his behalf Baudelaire made the unfortunate choice of Aglaé Sabatier, “la Présidente,” a woman to whom he had been sending anonymous and admiring poems since 1852. Emile Deschamps, a founding father of 1830s Romanticism, published a poem in praise of the collection in Le Présent . Modern life as inspiration for art is an idea that Baudelaire develops in “Le Peintre de la vie moderne” with reference to the artist Constantin Guys. Eliot. Debates about Baudelaire’s Christianity have not resolved the matter, though, nor is a label for Baudelaire’s faith necessarily desirable for reading his poetry. Email Address. Baudelaire illustrates these principles by discussing in detail the interests and techniques of “CG,” his designation for the artist who wished to remain anonymous, from his brush stroke to his Crimean War drawings for the Illustrated London News. While he did seek recognition, Baudelaire and his poetry are defined by their distinct individuality. Bandy Center for Baudelaire Studies at Vanderbilt University is devoted to recording all major publications on the author and his work. v. and vi.). Technical translation is one part of specialised translation; institutional translation, the area of politics, commerce, finance, government etc, is the other. In “Perte d’auréole” (The Lost Halo) the speaker loses his “halo” in the mud, but concludes that he is better off without it and that the halo is actually much better suited to “some bad poet.”. "[39] In his painting Music in the Tuileries, Manet includes portraits of his friends Théophile Gautier, Jacques Offenbach, and Baudelaire. The family decided that it was necessary to seek a conseil judiciaire (legal adviser) to protect the capital from Baudelaire, and on September 21, 1844 the court made Narcisse Désirée Ancelle, a lawyer, legally responsible for managing Baudelaire’s fortune and for paying him his “allowance.” The sum paid him was enough for a single young man to live on comfortably, but Baudelaire had expensive tastes and he was bitter about this intervention for the rest of his life. Willing to outrage public opinion and yet desirous of popular acclaim, he spoke penetratingly on the human condition. Some poems portray the woman as demonic, in the tradition of “Hymne à la Beauté.” In “Sed non Satiata” (But she is Not Satisfied), the speaker cries to the woman: “‘ démon sans pitié! 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. Jeanne Duval was a mulatto and a sometime actress who, according to Baudelaire, did not understand and in fact undermined his poetry and whose attraction was powerfully physical. The third muse for the trilogy of love cycles in Les Fleurs du mal, “Apollonie” (as she was also known) was without great political influence, and her dubious social standing probably did not lend credibility to Baudelaire’s claims for morality. Two of Baudelaire’s prose poems were published for the first time that same year in a festschrift, “Hommage à C. F. Denecourt.” The festschrift publication is particularly interesting because the prose poems were published alongside two poems in verse, so that “Crépuscule du Soir” (Dusk) appeared in verse and in prose. He invited people over to see riding breeches supposedly cut from his father’s hide, for example, or in the middle of a conversation casually asked a friend, “Wouldn’t it be agreeable to take a bath with me?” It is difficult to sort out which stories about Baudelaire are true and which are fictive—later on someone apparently thought that Baudelaire had actually gotten unreasonably angry with a poor window-glazier, misconstruing the prose poem “Le Mauvais Vitrier” (The Bad Glazier) as reality. Baudelaire offered a tantalizing statement about his goals for the new form: “Quel est celui de nous qui n’a pas, dans ses jours d’ambition, rêvé le miracle d’une prose poétique, musicale sans rythme et sans rime, assez souple et assez heurtée pour s’adapter aux mouvements lyriques de l’âme, aux ondulations de la rêverie, aux soubresauts de la conscience?” (Who among us has not, in his days of ambition, dreamed the miracle of a poetic prose, musical without rhythm or rhyme, supple and agile enough to adapt to the lyrical movements of the soul, to the undulations of daydreams, to the leaps of consciousness?). "[8] 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. During the period in which he was seriously exploring prose poetry, Baudelaire experienced a series of financial disasters. While Baudelaire’s contemporary Victor Hugo is generally—and sometimes regretfully—acknowledged as the greatest of 19th-century French poets, Baudelaire excels in his unprecedented expression of a complex sensibility and of modern themes within structures of classical rigor and technical artistry. Of 1500 books, 700 copies of Crépet’s biographical study remained in 1892. François Baudelaire was 60 when he married the 26-year-old Caroline Dufayis (1793–1871) in 1819; Charles was their only child, born in Paris on April 9, 1821. 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. Baudelaire’s first publications of poetry were probably disguised, for reasons known only to himself. Far from being “maudit” (cursed) in the tradition of his later legend, Baudelaire was actually a prize student of whom both parents were proud. He wrote on a wide range of subjects, drawing criticism and outrage from many quarters. Baudelaire—the product of a bourgeois household, the elitist poet of refined and elegant dress, the man who in the 1850s embraced Count Joseph de Maistre, an ultra-royalist aristocrat, and who had already expressed admiration for the aristocratic views of Edgar Allan Poe—participated in the French Revolution of 1848 that lead to the overthrow of the constitutional monarchy. He knew, however, that he was in no condition to do so. To traditional forms and traditional themes Baudelaire brought imagery and situations that had never before existed in French poetry. These are strong poems, understandably shocking to the readers of his day, but Baudelaire’s struggles with evil do not ally him with Satan. It is worth noting that in his preface Baudelaire refers to the form of the work as “prose lyrique.” He does not in the collection refer to the works as poems in prose, and the title, It is true, though, that whereas Baudelaire most often offers visions of beauty in, It is not coincidental that Baudelaire’s departure from traditional form and his exploring new themes occurred in chronological conjunction with “Le Peintre de la vie moderne.” Certainly, Baudelaire’s break with traditional notions of poetry had a far-reaching effect on subsequent poetry, from. The final cry of this poem, “Nous voulons ... / Plonger ... / Au fond de l’Inconnu pour trouver du nouveau” (We want ... / To plunge ... / To the bottom of the Unknown in order to find something new), is addressed to death and is ambiguous: it either launches the collection’s journey on a new course from that set in “Au lecteur,” thus possibly concluding Les Fleurs du mal on a note of optimism, or it ends the poem’s quest in death. In “Edgar Allan Poe, sa vie et ses ouvrages” (Edgar Allan Poe, His Life and His Works) Baudelaire notes views that were probably influenced by de Maistre as well as brought out by Poe: belief in original sin; faith in the imagination, which Baudelaire called “la reine des facultés” (the queen of faculties); approval of the cult of Beauty and of poetry for its own sake; and hatred for progress and nature. [54] For Benjamin, Baudelaire's importance lay in his anatomies of the crowd, of the city and of modernity. In Mon coeur mis à nu, Baudelaire described a dynamic—“De la vaporisation et de la centralisation du moi. Charles Baudelaire, "The Painter of Modern Life" in. Toward the end of the 19th century small magazines began to perceive Baudelaire’s work more clearly and to free him of the myth of decadence that had grown up around him. His continued support of Delacroix as the foremost Romantic artist gained widespread notice. His time in Belgium was not in fact wasted: Poulet-Malassis had emigrated there to escape creditors in France, and with his help Baudelaire published Les Épaves (The Wreckage, 1866), in which he assembled the condemned poems and other pieces left out of the French edition of Les Fleurs du mal. In contrast, the influential Sainte-Beuve maintained a significant silence. Synopsis. As his rejection of Levavasseur’s corrections suggested, though, Baudelaire—like the speakers in his poetry—was always an individual within the crowd. Baudelaire’s influence has carried over into the 20th century and to other countries in the work of such writers as Pierre-Jean Jouve, Pierre Emmanuel, and T.S. The most significant of these essays was his definitive article on modern art. He smoked opium, and in Brussels he began to drink to excess. He had wanted to find a publisher for them before his stroke, and his friends organized themselves to bring about what had become a last wish. [49] In 1930, T.S. Manet and Baudelaire became constant companions from around 1855. Central to Baudelaire’s estimation of Guys is that Guys is not an artist but is, rather, a man of the world. FleursDuMal.org. You are unlike anyone else [which is the most important quality]. She was a blonde, Rubenesque actress who seems never seriously to have reciprocated Baudelaire’s fascination for her. [48], 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. These circumstances led Baudelaire to travel to Brussels, where he hoped to earn money with a lecture series and to make contact with Victor Hugo’s publisher, Lacroix et Verboeckhoven. He did not even bother to deliver the entire talk. "[46], Baudelaire's influence on the direction of modern French (and English) language literature was considerable. His surname was later spelled Ancel, and he eventually adopted the anagram Celan as his pen name. The year 1848 marked the beginning of a strange period in Baudelaire’s life, one that does not quite fit with his life as a dandy, and which he himself later labeled “Mon ivresse de 1848” (My frenzy in 1848) in his Journaux intimes (Intimate Journals, 1909). In the trial of his poems Baudelaire had argued that there was an “architecture” that organized the meaning of his work, and this organizing principle has been the subject of debate among critics.

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