Charles Baudelaire is often considered a late Romantic poet. Even Baudelaire sought to identify with archetypal Romantic figures such as Byron, Hugo and Gautier; the latter once stated Baudelaire had "found a way to breathe new life into Romanticism" with the publication of his magnum opus, Les Fleurs du Mal. However, the novelty that Baudelaire would introduce into ostensibly Romantic verse was essentially a reflection of the changing social environment was about a new characterization of the role of the poet, as demonstrated in Baudelaire's poem “The Albatross”. a shift to modernity that redefines the poet as a marginalized outcast, not a public spokesperson. The poet's art is demystified amid a wave of thought that has equally contributed to the rise of state secularism, atheism, and of a general modern impiety. This de-sanctification, along with other modern ills such as a socioeconomic system increasingly based on the relative stasis of specialization, heralded an increasingly common deficiency of the soul and weariness of the mind, known as ennui. The confident poet is subject to the harassment of the masses for his values ​​in the face of very modern morality and industrial utility which have caused deep dissatisfaction of these masses. The Coleridgean, visionary poet is dead and in his place remains an ardent defender of art; one who is misunderstood and erudite, who limps awkwardly among a people recently absorbed in the deadly depths of boredom; one who is essentially an albatross displaced from its native, mysteriously infinite elements of sky and sea and relocated into a materiality of land (or in this case an extension of land, in the form of a ship). On earth his virtues are considered flaws and his “mild” nature (line 3) makes him subject to abuse from people seeking entertainment and distraction. “The Albatross” appears in third place in Baudelaire's seminal collection of verse, after a noted “To the Reader” and a “Blessing.” Evidently the poem still deals with broad, comprehensive and introductory themes that Baudelaire wished to propose as part of the main foundations of his transformative text. The titular bird is decidedly compared to "The Poet", (13) in very broad terms, and is described as ungainly and "unbecoming", (10) tripping over his own "great white wings", (8) or poetic and aesthetic thought processes, whether pushed into finite reality, ship material, or practical matters of the nineteenth century. These enormous wings which appear to sailors to be nothing more than "useless oars" (8) in the utilitarian context of the ship are precisely what, in the poetically infinite element of the sky, allow the albatross to "[taunt] the archers, [and love] a stormy day” (18). Or, to complete the analogy, wings are what allow the poet to rise above criticism and contemplate the sublime. This correlation between the poet and the albatross seems at first glance to be a timeless description of the poet who has always been a “relative in the clouds” (13) and inevitably awkward in more worldly company. This poem seems to pay homage to Coleridge's "The Rime of the Ancient Mariner" in its use and even elevation of the albatross. However, what is really at stake in this poem is Baudelaire's subtle analogical step away from the affected folkloric resonances of Romanticism in his fable-like redefinition of the modern poet. A brief look at how large birds, decidedly analogous to poets, are treated. by their respective seafarers illuminates a social landscape in,.