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Verlaine's birthplace in Metz, today a museum dedicated to the poet's life and artwork. Paul-Marie Verlaine (/ v ɛər ˈ l ɛ n / vair-LEN; [1] French: [pɔl maʁi vɛʁlɛn]; 30 March 1844 – 8 January 1896) was a French poet associated with the Symbolist movement and the Decadent movement.
"Chanson d'automne" ("Autumn Song") is a poem by Paul Verlaine (1844–1896), one of the best known in the French language. It is included in Verlaine's first collection, Poèmes saturniens, published in 1866 (see 1866 in poetry). The poem forms part of the "Paysages tristes" ("Sad landscapes") section of the collection. [1]
Clair de lune" (French for "Moonlight") is a poem written by French poet Paul Verlaine in 1869. It is the inspiration for the third and most famous movement of Claude Debussy's 1890 Suite bergamasque. Debussy also made two settings of the poem for voice and piano accompaniment.
La Bonne Chanson is a collection of poems written by Paul Verlaine from the winter of 1869 to the spring of 1870. Twenty-one poems belong to this group, and are addressed to sixteen-year-old Mathilde Mauté de Fleurville, whom he married in the same year (1870).
[1] [2] It is a setting of an eponymous poem by Paul Verlaine. [3] It was presumably finished around 1906, although the precise date of completion is hard to ascertain. Dedicated to Léon Claude Mercerot, it was published in 1906 by Benjamin Roudanez and later republished by Éditions Salabert in 1973.
The original 1949 edition of The Spiritual Hunt by Mercure de France, with an introduction by Pascal Pia. The Spiritual Hunt (French: La Chasse spirituelle) is a prose poem purportedly written by French writer Arthur Rimbaud, claimed to be his masterpiece by his friend and lover Paul Verlaine. [1]
Fêtes Galantes is a cycle of six mélodies composed by Claude Debussy to poems by Paul Verlaine. It consists of two books of three songs (FL 86 and FL 114). The songs were composed over several years, and were premiered in 1904.
The poetry of Paul Verlaine had a more profound influence on Claude Debussy's music than did Debussy's closest literary or musical acquaintances. [2] Debussy and Verlaine were both inspired by subtlety and nuance. Each man sought to innovate by using rhythm and tone color as the basis for a new form of a pre-existing art.