Прокурорът, който спря да чете: правосъдието между буквата на закона и звука в съдебната зала

This study examines the shift in the prosecutorial strategy of Ernest Pinard in the cases against Gustave Flaubert (“Madame Bovary”) and Charles Baudelaire (“Les Fleurs du mal”), offering an interpretation that explores the ways in which legal professionals read literary works. Using examples such as the poet-detective Gabriel Syme, a character in G. K. Chesterton’s “The Man Who Was Thursday”, and the investigating monk William, a character in Umberto Eco’s “The Name of the Rose”, the article investigates potential connections between poetry and law. These connections create legal spaces where both laughter and music become possible. Particular attention is given to the relationship between text and music within the framework of court proceedings (the so-called “courtroom acoustics”) as well as in the formation of judicial practice (understood as a harmonious performance).