Verlaine's La bonne chanson and Romances sans paroles

In Verlaine's La bonne chanson , the path to the lady involves centripetal circling, proceeding by degrees, toward an ever closer encounter, in hopes of achieving synthesis with her at the stillpoint of a vortex. Two episodes, located like elliptical dual centers, result in two outcomes: the first, a sudden, centrifugal reversal flinging him violently away, signifying the lady's rejection; the second, an apparently successful but short‐lived fusion, as the poet's measured centrifugal withdrawing, this time of his own accord, portrays. By the time Romances sans paroles opens, estrangement from the lady has increased, but a harmonious intimacy has developed between the poet and a male companion, and the poet's bisexuality is reflected by various gender relations and shifts. His open avowal of a homosexual affair is a shock that upsets the delicate balance between conflicting desires that had been, until now, precariously maintained, resulting in the violent, vertiginous vortex that tears things apart. Although the vortex is, as phenomenon and symbol, reversible, whirling centripetally toward a calm union at the center or centrifugally away toward the furious chaos at the periphery, it is the destructive centrifuge that prevails in these works, ending all tensions and conflicts by annihilating them.