Baudelaire was born on April 9, 1821 in Paris, France, and was baptized two months later at Saint-Sulpis Roman Catholic Church. His father, Joseph-François Baudelaar (1759–1827), a senior civil servant and amateur artist, was 34 years older than Baudelaire's mother, Caroline (Neu Dufes) (1794–1871). François died during childhood on 10 February 1827 in Rue Huitfil, Paris. The following year, Caroline married Lieutenant Colonel Jacques Aupique, who later became a French ambassador to various great courts.

        Baudelaire's biographers have often viewed this as a pivotal moment, noting that himself is no longer the sole focus of his mother's affection, leaving him with a trauma that would have been apparent later in his life. Goes some way to explain. He told her in a letter that, "I had a period of passionate love for you in my childhood." Baudelaire regularly begged his mom for money during his career, often promising that a lucrative publication contract or journalism commission was just around the corner.

        Baudelaire was the only child of François Boudelaar and his very young second wife, Caroline DeFayes, whom he married in 1819. Starting his career as a priest, François left the Holy Orders in 1793 and eventually became a prosperous middle-order civil servant. A modest painter and poet of humble genius, he introduced his son to art, or the younger Baudelaar, later called his greatest, most consummate and earliest passion a "cult of images".

        His father died in February 1827. Some 18 months later Baudelaar and his mother were living together on the outskirts of Paris, which he would always remember, writing for him in 1861 that "a period of passionate love" for him when I was alive in you forever; You were completely and completely mine. "This" childhood-filled paradise "Loves" came to an abrupt end in November 1828 when Caroline married Jacques Aupic, a career soldier who rose to the ranks in general and who later led the French in the Ottoman Empire and Spain Worked as ambassador. Before becoming a senator under the Second Empire.

        Baudelaar began to make literary connections as soon as he passed BAC, at the same time as he was paying off debts. From 1839 to 1841, while he was living in the Latin Quarter, he became associated with Le Cole Normande (Norman School), a group of student-poets centered around Golaev Levasasseur, Philippe de Choviares and Ernest Prérond. None of these people became prominent poets, but they were involved with poetry in Baudelaire's first ventures. Pround has claimed that Baudelaar recited some poems in early 1842, which were later published in Les Flavor du Mal.

        Boudelaire considered participating in a mass publication with Levavasseur, ProRond, and another man, named Dozen. However, he withdrew his contribution, as Levavasseur wanted to correct "stupidity" in his work. Boudelaire was never without literary acquaintances. His professional social activity continued throughout his life, and during his literary life he became acquainted with authors such as Victor Hugo, Charles-Augustin Sante-Bev, and Theophile Gautier. As his rejection of Levavassassar's reforms suggested, however, Baudelaire - as if the people speaking in his poetry - were always a person within the crowd.

        In 1857, Auguste Pullet-Malassis published the first edition of Les Fleurs du Mal. Baudelaar was so concerned with the quality of the printing that he took a room near the press to help oversee the production of the bookhe ban on these poems was not lifted in France until 1949.

        In 1861, Boudelaire added thirty-five new poems to the collection. Les Flares du Maal gave Baudelaire a degree of notoriety; Writers such as Gustave Flavert and Victor Hugo wrote in praise of the poems. Flaubert wrote to Boudelaar, "You have found a way to inject new life into romanticism. You are unlike anyone else [which is the most important virtue]." Unlike earlier romantics, Baudelaire sought Paris for inspiration. Looked at urban life. He argued that art should beautify even the most deprived or "non-poetic" situations.