Baudelaire was born in Paris, France, on 9 April 1821, and baptized two months later at Saint-Sulpice Roman Catholic Church. His father, Joseph-François Baudelaire (1759-1827), a senior civil servant and amateur artist, was 34 years older than Baudelaire’s mother, Caroline (née Dufaÿs) (1794-1871). Joseph-François died during Baudelaire’s childhood, at rue Hautefeuille, Paris, on February 10, 1827. The following year, Caroline married Lieutenant Colonel Jacques Aupick, who later became a French ambassador to various noble courts. 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. He stated in a letter to her that, “There was in my childhood a period of passionate love for you.” 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. At 14, he was described by a classmate as “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.” Baudelaire was erratic in his studies, at times diligent, at other times prone to “idleness”. Later, he attended the Lycée Louis-le-Grand in Paris, studying law, a popular course for those not yet decided on any particular career. He began to frequent prostitutes and may have contracted gonorrhea and syphilis during this period. He also 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.”

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. (Baudelaire later exaggerated his aborted trip to create a legend about his youthful travels and experiences, including “riding on elephants”.) On returning to the taverns of Paris, he began to compose some of the poems of “Les Fleurs du Mal”. At 21, he received a sizable inheritance but squandered much of it within a few years. His family obtained a decree to place his property in trust, which he resented bitterly, at one point arguing that allowing him to fail financially would have been the one sure way of teaching him to keep his finances in order.

In 1846, Baudelaire wrote his second Salon review, gaining additional credibility as an advocate and critic of Romanticism. His continued support of Delacroix as the foremost Romantic artist gained widespread notice. The following year Baudelaire’s novella La Fanfarlo was published.

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 saw in Poe a precursor and tried to be his French contemporary counterpart. 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) (1856), Nouvelles histoires extraordinaires (New extraordinary stories) (1857), Aventures d’Arthur Gordon Pym, Eureka, and Histoires grotesques et sérieuses (Grotesque and serious stories) (1865). Two essays on Poe are to be found in his Œuvres complètes (Complete works) (vols. v. and vi.).

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. 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. Some of the poems had appeared as “fugitive verse” in various French magazines during the previous decade.

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.” His mother died on 16 August 1871, outliving her son by almost four years.

By 1859, his illnesses, his long-term use of laudanum, his life of stress, and his 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. In 1860, he became an ardent supporter of Richard Wagner.

Baudelaire had no formal musical training, and knew little of composers beyond Beethoven and Weber. 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. 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 Tannhäuser à Paris”. Baudelaire’s reaction to music was passionate and psychological. “Music engulfs (possesses) me like the sea.” 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.” Baudelaire’s writings contributed to the elevation of Wagner and to the cult of Wagnerism that swept Europe in the following decades.

Baudelaire, his publisher and the printer successfully were prosecuted for creating an offense against public morals. They were fined, but Baudelaire was not imprisoned. 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.” 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.

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 to give lectures. His long-standing relationship with Jeanne 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 paralysis followed. After more than a year of aphasia, he received the last rites of the Catholic Church. 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. Baudelaire is buried in the Cimetière du Montparnasse, Paris.

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’. In 1895, Stéphane Mallarmé published “Le Tombeau de Charles Baudelaire”, a sonnet in Baudelaire’s memory. 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. 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”. 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. For example, he quoted the last line of Baudelaire’s “Au Lecteur” in the last line of Section I of The Waste Land.’