Arthur Rimbaud had an undeniable influence on authors with similarly brilliant and difficult careers, as well as a lasting impact on French youth. Based on Paul Verlaine’s definition of Rimbaud as a “cursed” poet, my research analyzes the influence of Symbolists and Decadents on the works of new poets who emerged after the Rimbaldian Revolution, principally Boris Vian and Jean Cocteau, both considered geniuses and both often misunderstood. These three poets perfectly embody the definition of “déchéance.” This artistic movement is more like a psychological and physical experiment that the poet is willing to inflict on his own body and soul in order to discover the “Unknown” and to attain poetic glory and immortality in Death. The “déchéants” poets, in the process of falling from impassioned optimism, agree on destroying the clichés of traditional poetry and rejection of the Parnassian icons. The old muses are cast aside to embrace new subject matters that are more pertinent for their social or political issues, such as government, war, and religion. To deliver their message, they will also have to invent a new way of communicating, more appropriate to their new ideas: new uses of common vocabulary, adaptations of French words, and creative linguistic inventions. Thanks to these new tools, the “déchéants” advance the limits of the poetic world and create new boundaries. From bridges to mirrors, they offer an extraordinary gateway between parallel universes, between reality and fiction. Advisors/Committee Members: Minahen, Charles (Advisor).