Verlaine introduces us into the atmosphere of the glamorous worldly celebrations that the courtiers indulge in the pastimes that prey to the seductive sweetness of the carnal pleasures accompanying their short-lived love adventures. In poems such as "On the Grass" and "On the Steamboat," the complacent courtiers of the courtiers are eager to wait for the fall of the night gloom to indulge in the realization of their passionate fleshly desires. In the Alley, dreams filled with erotic visions predominate. The Naivni also hints at the upcoming sweet experiences of the affectionate and affectionate body.

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In this collection, melancholy is not represented as a suppression of impulse as the French poet-romantics interpret in his lyric. When referring to death, for example, in the poem "Indifferent," we mean the lust for sweetness, which usually follows a satisfied love passion. Generally, the mood that dominates most of the poems in the collection, especially in his final, is marked by the difficult, bearable, gloomy and depressing sadness. In the song of the nightingale, which ends the poem "Under the Sourdina", there is another inspiration and aesthetic position. They are in clear dissonance with the predominant emotional and intellectual atmosphere of this collection. In Gallant Feasts, the poet's style goes into a much fuller symbiosis / merger / with the meaningful messages of "poor Leelan" than in "Saturn poems." Verses are sometimes surprisingly short, as in the Colombin and Klimena poems. In some works, such as "On the Grass" and "Indifferent," there are often some familiar to the colloquial speeches of familiar twists and some archaic words that revive the lyrical development of the motifs set forth in them. In this collection, the poet proves that he already has an impressive amount of musical resources in the sound French. The poems in the collection "The Good Song" impress with the revealed moral position and the directness of their creator. It should not be forgotten that their first reader was the beloved of the poet, Matild Mote, who recently turned 16. The style of the works included in this short lyrical cycle is not as sophisticated as in "Saturn Poems" and "Galant Feasts". In it, Verlaine often uses the full-length rhymes and the twelve-syllable poems (Alexandrine), which are characteristic of French classical poetry.

In "The Good Song," the poet praises the moral purity, modesty and goodness of his beloved bride. He seems to want to show that he does not hold on to the passionate affection of love, but to the nobility of nobility and the willingness to redeem his mistakes before the Other. While most scenes in "Gallant Feasts" evolve in the darkness of the night, this collection is dominated by poems inspiring serenity of peace, in which there are thoughts radiating the bright light of prematurely acquired life wisdom. Obviously, here, inspired by the enlightening love, Verlaine is tempted to go against his strange, painfully intimate, intimate nature. Critics today often define "Good Song" as a collection of misunderstandings. Some are inclined to blame the poet for the nobility and impulsive spiritual generosity manifested in it. According to most of the connoisseurs of the life of Verlaine , it is precisely the reason for the rapid misunderstanding in his family, which soon shakes the roots of Paul's and Mathilde's happy spousal life. The greatest achievement of the poet Verlaine is undoubtedly his collection of poems-impressions "Romance without words", in which he is relentlessly dismissed from his piety as a young poet to the French lyrical tradition, which follows in his earlier collections. poems with an odd number of syllables, and does not conform to what is perceived in the classical slogan / doctrine of emphasis and length of syllables, for example, deliberately ignoring the alternation of males with female rhymes in many of poems are listed in this collection.

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Part 1

Part 2

Part 3

Part 4

Part 5