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 a sonnet in Baudelaire's memory, 'Le Tombeau de Charles Baudelaire'. 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". 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.'
At the same time that Eliot was affirming Baudelaire's importance from a broadly conservative and explicitly Christian viewpoint, left-wing critics such as Wilson and Walter Benjamin were able to do so from a dramatically different perspective. Benjamin translated Baudelaire's Tableaux Parisiens into German and published a major essay on translation as the foreword.
In the late 1930s, Benjamin used Baudelaire as a starting point and focus for his monumental attempt at a materialist assessment of 19th-century culture, Das Passagenwerk. For Benjamin, Baudelaire's importance lay in his anatomies of the crowd, of the city and of modernity. François Porche published a poetry collection called Charles Baudelaire: Poetry Collection in memory of Baudelaire.
In 1982, avant-garde performance artist and vocalist Diamanda Galás recorded an adaptation of his poem The Litanies of Satan (Les Litanies de Satan).
The song "How Beautiful You Are" by The Cure from their 1987 album Kiss Me, Kiss Me, Kiss Me was inspired by and based on Baudelaire's poem "The Eyes of the Poor".
The 1998 Spanglish classic novel Yo-Yo Boing! by Giannina Braschi features a debate between artists and writers on the greatness of Baudlelaire versus Arthur Rimbaud and Antonin Artaud.
in 2002, alt-rock band ...And You Will Know Us by the Trail of Dead included a song titled "Baudelaire" on their album Source Tags and Codes.
In 2008, the Italian band Baustelle dedicates to him the song "Baudelaire" on its album Amen.
The 2011 Latin American postcolonial novel "United States of Banana" by Giannina Braschi features cameo appearances by Baudelaire, along with fellow poets Antonin Artaud, Arthur Rimbaud, César Vallejo and Rubén Darío.
The Baudelaires, protagonists of Lemony Snicket's A Series of Unfortunate Events, were named after him.
Vanderbilt University has "assembled one of the world's most comprehensive research collections on ... Baudelaire".
The Japanese comic or manga Aku no Hana, by Shūzō Oshimi, is inspired by Baudelaire's Les Fleurs du mal. The anime was aired in 2013 and drew attention due to its heavy use of rotoscope animation. The protagonist in both manga and the anime, Takao Kasuga, is a bookworm whose favorite book is Les fleurs du mal, translated in Japanese as Aku no Hana.
Les Fleurs du mal has a number of scholarly references Citations