Some connoisseurs of poetry compare the poet with the hospital, who with impressive patience constantly suffers the pressure of the phrasing. To this image, the connoisseurs of Verlaine 's poetry add to his idea of ​​him as a conscientious engineer who cuts out precisely the precise meanings and the musical suggestions of the lyrical speech. It is a well-known fact that this French poet is both a bold innovator and a submissive poetic spokesman of the speech.Verlaine 's technique is the recreation of the significant ambiguity, the excitement of the soul, the nuances of the rising and dying light, the diminutive landscape of the morning clarity and the evening half-breed. Henry Peir notes the characteristic of Verlaine 's "renunciation of brutality, a clear preference in choosing between the flesh and the soul, between the angelic spirit and the mud, between the rudeness of the drunk and the tenderness of the child, and between the weak and the strong sex." Indeed, this poet clearly senses the desire to forget himself, to avoid the wounds that make life, to somehow save his own sense of guilt.

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In the second half of the 19th century, the poet Paul Verlaine gained prominence in France as a master of the nuances of colors and sounds. He often recreates in his poetry the landscapes with flowing colors that paint his contemporaries - the Impressionists. It is known that the famous French Impressionist Mane often repeated to his friend Verlaine : "The main actor in a painting is the light." When devoted to poetry, the younger Verlaine composes a nickname-anagram derived from his own name - written in French - "Poor Leelan." According to biographers, "Poor Lehlian" is attracted to the two poles that emerge at the time in Paris literary life. He visits both cafes and saloons. He preferred the marquis of General de Rikard, the mother of Louis Xavier de Ricard, who published the first verses of Verlaine in the Review of Progress. In this salon the young poet meets the poets-parnassists Villiers de Lille-Adan, Theodor de Banville, José-Marie Heredia, François Copé and Kathul Mendes. In the collection "Modern Parnas" (published by the latter) he is "a neighbor" as a poet with Baudelaire and Malarme. François Copé puts it into the aesthetics program of the steamers. In the first collections of the poet, "Saturn Poems" and "Galant Feasts", the influence of the poets-paramilitans Banville and Lecont de Lille is felt. Indeed, at the beginning of his career, the poet Verlaine succumbs to the virtuosity of the steamers and the results are generally desperate. But in these two lyrical cycles he is already acting as an artist who wants to impose among others with his own sadness and distinctive poetics.

The aim of the author of "Saturn poems" is to make the reader dissolve his book with the same trembling with which the sophisticated, sensitive man tries to "dissolve" his soul in front of the woman he is in love with. During the reign of the ancient Italian god Saturn, the human race was, according to the legend, in its "Golden Age" - the age of equality, affection, abundance and tranquility. When "poor Leelian" issues his own "Saturn poems" he is no longer just a Verlaine , and the person dedicated to literature announces his choice, which we are called to experience again today when we read his works in this collection. Since then, Verlaine began to perceive himself as the Other. The decisive hour has come, in which he vowed to the creative impulse of a young man, who realizes that the poet - these are the other people, that is the future. Poor Lehlian realizes that the poet is called upon to create life ahead of him. He commands himself in debt to go before life through a delicately inspiring / scholastic / lyrical word. The aforementioned French literary historian Henri Peir offers the venerable recognition of Verlaine in a letter to his friend Casals -"I am a feminine being, and that would explain quite a lot." - to be taken as a compulsory starting point for the psychologists of this French poet . Indeed, Verlen has repeatedly admitted that he is a "two-sided being bound to oscillate between the two poles - the beast and the angel, the tiger, and the rhythm of his need to be guided and loved by a small child." In one of the challenging his Sonne "The Good Disciple", designed to overwhelm his hateful spirits, Verlaine confessed: "I'm wandering through the air like a falcon and dying like a swan."

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Part 1

Part 2

Part 3