In some of the works such as Wolves and Winners, the author adheres to the socially revolting rhetoric, which was adopted by some of the steam engineers. In other poems with diabolical motives he remains faithful to the artistic conventions of romanticism that have long been resolved in the history of French poetry. Verlaine's authoritative lyrical expression is confirmed in his poetic poetry "Poetic Art". In this theoretical poem, the patron saint of the French poets symbolizes in three "technological" directions his compositions about the renewal of poetry: the content of the lyrical message, the suggestive power of the Lyric word and the organization of the verse. It encourages the development of poetry relying on suggestion rather than detailed logical explanation.
The privileged position of the impetuously impressed impression is attributed rather than the objective reproduction of a certain emotion, excitement or passion.From the initial verse of the work "Music above all else" begins to motivate the need to create "poetry for the soul". A preference is given to the "gray melody" that Verlaine considers to be the most appropriate musical sound of the hard-to-express words that are suddenly transgressing the human soul with no logical definition. Verlaine believes that the verse with an odd number of syllables can best reproduce everything that is destined to "dissolve and disappear into the air as quickly as possible." In this theoretical poem, the author uses the verse verse as the cousin between the 3rd and 4th, and between the 4th and 5th syllables, alternating, which gives the rhythm variety.
He does not consider that the flight of thought should be interrupted with rhyme and limited only within one line of order, so he encourages the poets to freely use the angelman, the transfusion / more accurately translating the "overturning" of the unfolded motives and their melting into the common sense stream. Verlaine rejects from the verse all that "contains some weight or pose". He gives preference to the playful accompaniments characteristic of the folk song in front of the strict rhyming, in which the full-bodied clause (the end of the verse) becomes an end in itself. He is clearly favorable to alliterations / repetitions of the same or similar sounds that multiply the sound effects within the verse. Verlaine proves with this guiding work that he is an unsurpassed master in the "exploitation" of the crystalline sound of the very clear voices of the French language. The recommendation of the poet-corriff to use mainly the anonas and alliterations once again indicates his theoretical ambition to promote the superstitious type of lyrical expression.
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