本研究延伸巴爾札克的《步態原理》，透過觀察與凝視波特萊爾詩中一連串的「步態」場景與展演，假設身體步態作為詩人移動書寫的一種參照，亦即走路行徑一如創作表現，而身體移動的特殊徵候（la physiologie）一如書寫的修辭技巧（la rhétorique）。在波特萊爾進行創作的年代，巴黎正經歷一場深刻的現代化幻滅，密謀反抗改革之勢不斷在暗處凝聚，而波特萊爾這位習慣從巴黎現代生活中挖掘書寫素材的詩人，他描繪的一些平凡的人物形象，以及各種溢於言表的細節，攪渾了近一個世紀以來現代性意識形態的水面；不過，似乎很少有人真正意識到他所勾勒的形象與細節──尤其是有關移動的身體步態──在其詩語言創作所扮演的顛覆意義。本文將循著詩人的詩作，拾掇一些有利於闡明本文主題的人物形象，包含過路女子、紈袴子、漫遊者等，最後以德勒茲「無器官身體」的概念進行總結，嘗試對身體移動的步態與波特萊爾詩作之間的曖昧關係，進行一番勾勒。
As an extension of Balzac’s Theory of Gait, this article observes and contemplates a series of gaits in Baudelaire’s poems, relating body gaits to writing movements just like the walking gait can be used as expressions of creative works, and the physiology of corporal movements as the rhetoric skills of writing. When Baudelaire wrote his poems, Paris was undergoing a profound disillusionment with the modernization process. Conspiracies against the big reforms were engaged clandestinely. And Baudelaire, the poet who seemed more interested in images of the folks, in details that go beyond what is written, has been looking for his writing resources in the modern life of Paris city. But few people are really aware that these images and details, especially the detailed descriptions of body gait, not only transformed the modernist ideology but played a subversive role in the poetic language. This article follows the poet’s traces and works, picking up alongside some figures or images which help clarify some points of our subject, including passer-by, dandy, flâneur, etc.... In the end, we use the term of “body without organs” by Deleuze to analyze or to draw outline of ambiguous relationships between corporal movements and Baudelaire’s poems.