Editing Charles Baudelaire (section)

==Publishing career==
His first published work, under the pseudonym Baudelaire Dufaÿs,<ref>{{cite book|last1=Vicaire|first1=Georges|title=Manual de L'Amateur de Livres du XIXe Siècle: 1801–1893|date=1894|publisher=Librairie A. Rouquette|location=Paris|volume=1|page=339}}</ref> 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 [[Eugène Delacroix|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 continued support of [[Eugène Delacroix|Delacroix]] as the foremost Romantic artist gained widespread notice.<ref name="crapkq">Richardson 1994, p. 110.</ref> The following year Baudelaire's novella ''[[La Fanfarlo]]'' was published.

===''The Flowers of Evil''===
[[Image:Fleurs du mal.jpg|thumb|upright|The first edition of ''[[Les Fleurs du mal]]'' with author's notes]]
Baudelaire was a slow and very attentive worker. 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.<ref>{{cite book|last1=Clark|first1=Carol|title=Selected Poems|section=Notes on the Text|date=1995|publisher=Penguin Books Ltd.|location=By Charles Baudelaire. London|isbn=978-0-14-044624-1|page=xxiii}}</ref> 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]].{{sfn|Chisholm|1911|p=537}}<ref>Baudelaire, Charles. Les Fleurs du mal. Paris: ''Revue des Deux Mondes'' (XXVe année, seconde série de la nouvelle période, tome dixième), 1855. pp. 1079–1093.</ref> Some of the poems had appeared as "fugitive verse" in various French magazines during the previous decade.<ref>Huneker, James. Introductory preface to: ''The Poems and Prose Poems of Charles Baudelaire''. New York: Brentano's, 1919. p. xvii.</ref>

The poems found a small, yet appreciative audience. However, greater public attention was given to their subject matter. The effect on fellow artists was, as [[Théodore de Banville]] stated, "immense, prodigious, unexpected, mingled with admiration and with some indefinable anxious fear".<ref>Richardson 1994, p. 236.</ref> [[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."<ref>Richardson 1994, p. 241.</ref>

The principal themes of sex and death were considered scandalous for the period. 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.<ref>Richardson 1994, p. 231.</ref>

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.<ref>Richardson 1994, pp. 232–237.</ref> J. Habas led the charge against Baudelaire, writing in {{lang|fr|[[Le Figaro]]}}: "Everything in it which is not hideous is incomprehensible, everything one understands is putrid." Baudelaire responded to the outcry in a prophetic letter to his mother:
<blockquote>
"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."<ref>Richardson 1994, p. 238.</ref>
</blockquote>

[[File:Rops Les Epaves 1866.jpg|thumb|upright|Illustration cover for ''Les Épaves'', by Baudelaire's friend [[Félicien 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.<ref>Richardson 1994, p. 248</ref> Six of the poems were suppressed, but printed later as ''Les Épaves'' (''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."<ref name="yvjown">Richardson 1994, p. 250.</ref> Baudelaire did not appeal the judgment, but his fine was reduced. Nearly 100 years later, on 11 May 1949, Baudelaire was vindicated, the judgment officially reversed, and the six banned poems reinstated in France.<ref name="yvjown"/>

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:

:... 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 (poet)|Roy Campbell]]'s translation)