When selecting the words, the poet should break with the classical, privilege of clarity and order, rhetorical tradition. Verlaine recommends using the vague, frugal words and association words. Thus, he embodies the concept of symbolism that language is an imperfect instrument of expressing intuitive insights that are constantly arising in our country, and ideas that can not be logically formulated. The author of the French literature, Henri Peir, writes that more than anyone else, Verlaine as a poet devotes himself to changing the profound character of the classical French Alexandrian by multiplying the steps of three syllables by continuously moving the cousin's place in the verse staged several daring angels who break the rhythmic stringency of verses and bring a number of his poems together with the narrative fluidity of prose. In the sphere of the poet's metrology, Verlaine often ignores the norms of the Syllabic poetry. In his lyric, we find impressively well-calculated combinations of accents, so good a distribution of accents that when they are put on alliances or particles, according to Peir, they are "surprised" that they have been elevated to such a degree of nobility ...
As a young man, when embraced by his passionate love for Mathilde Motte, Verlaine believes that happiness is only achievable in the harmonious marriage of a man and a woman. Later, succumbing to the temptation to maintain a homosexual provocative prejudice at the time, with his much younger Rimbaud, he ended up in prison for three years, then with a keen zeal to return to his commitment to a zealous Catholic believer. This short-lived "return" of the poet to the Catholic faith does not devour him entirely. Verlaine is once again attuned to bohemian wandering, and does not cease to praise the "benefits" of homosexual love - acts that at that time are perceived as "grumbling" tears with the moral of the then self-confessed Euspasian society. It is the same society that is ridiculously protected by two noisy lawsuits brought in 1857 by Gustav Flober's "scandalous" novel "Madam Bovary" and by "pornographic" sonnets in the lyrical collection of Charles Baudler "Flowers of Evil ".
It is known that in the old years, Verlaine walked by leaning on a cane, which, he claims, spoke silently with the lofty shadows above the ground. He imagined that he was laughing in some strange "no-man's land," as the hurtful of his sick leg wounds seriously upset his mind. Since he could not convince others that his "wings were pruned," the poet used his crippled feet as an impressive indication of the despicable unconsciousness in which he had fallen. Today critics often use the metaphor of the atrocities gained by Verlaine to support the axiomatic claim that "the real poet is always a little limp". Verlaine warned of the recent expansion of "lyric space," which he imagines as a "music-land" in which words do not differ from sounds and are presented to listeners and readers as the most sophisticated spiritual food for the human In it, all sophistically sensitive souls will be nourished, according to the poet's prophecy, with the crumbs of beauty poisoned by this radiating poetry-ambrosia music, the only dignity of poetry is to invite people to rediscover the depths In the mandatory summary, that if we accept that Baudler is the legislator of symbolism in France, then Rimbaud is his young prophet.
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