Abstract
The starting point of this article is a study of the sonnet characterized by a correlative and irregular structure in the poetry of Du Bellay et Ronsard. In Les Fleurs du Mal, Baudelaire gets back only once to this particular structure. He introduces, in this old mold, what he names, in Le Peintre de la vie moderne, his theory of Beauty which appears constantly in his aesthetic writings from 1857 until 1863. The same composition date of the sonnet characterized by a correlative and irregular structure and Le Peintre de la vie moderne establishes a relation between the aesthetic theory and poetic creativity. It leads also to the conclusion that Baudelaire has always been interested in the poetry of the sixteenth century.
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