This was largely due to Debussy's meticulous approach to composing for previously published text.

Additionally, Symbolist circles that Debussy was a part of were strongly critical of language during the time, which more than likely contributed to the lack of compositions.

Debussy did not compose for piano and voice again until 1910 when he set François Villon's poetic, final last statement to music.

[3] The song cycle was dedicated to the singer Mary Garden, who was known for performing as Mélisande, a role from one of Debussy's operatic works.

Each man sought to innovate by using rhythm and tone color as the basis for a new form of a pre-existing art.

In the Ariettes oubliées, subtlety, nuance, rhythm and tone color (timbre) converged to create a mature compositional style for Debussy, which, in turn, gave a heightened level of understanding to Verlaine's poetry.

The poetry used for this particular piece was written in a, a, b, c, c, b form and describes the fatigue of love and longing throughout the text.

[2] A quote by Favart is included with the score, which states: "Le vent dans la plaine suspend son haleine."

This quote directly relates to the sense of longing established by the poetry, as well as Debussy's compositional style of dramatic crescendos/diminuendos, as well as sustained, ultimately descending chords throughout the accompaniment.

It is languorous rapture, It is amorous fatigue, It is all the tremors of the forest In the breezes' embrace, It is, around the grey branches, The choir of tiny voices.

The warbling and whispering, It is like the soft cry The ruffled grass gives out… You might take it for the muffled sound Of pebbles in the swirling stream.

Written in G♯ minor, Debussy's music includes almost continuous eighth notes that alternate between the right and left hands, creating an atmosphere that evokes the sound of raindrops.

In addition to the eighth notes, a slow moving legato melody is played throughout the entire piece, complimenting the sadness the poetry describes.

[2] The quote that accompanies this particular piece is one by R. Rimbaud, which reads: "Il pleut doucement sur la ville".

Ô bruit doux de la pluie Par terre et sur les toits !

It reads: "Le rossignol qui du haut d'une branche se regarde dedans, croit étre tombé dans la riviére.

[1] An opening quote at the top of the score from Victor Hugo reads: "Par saint-Gille, viens-nous-en, mon agile Alezan ;"[5]

The red-faced child and the pale mother, The lad in black and the girl in pink, One down-to-earth, the other showing off, Each buying a treat with his Sunday sou.

Astonishing how drunk it makes you, Riding like this in this foolish fair: With an empty stomach and an aching head, Discomfort in plenty and masses of fun!

And hurry on, horses of their souls: Nightfall already calls them to supper And disperses the crowd of happy revellers, Ravenous with thirst.

J'arrive tout couvert encore de rosée Que le vent du matin vient glacer à mon front.

Souffrez que ma fatigue à vos pieds reposée Rêve des chers instants qui la délasseront.

Sur votre jeune sein laissez rouler ma tête Toute sonore encore de vos derniers baisers; Laissez-la s'apaiser de la bonne tempête, Et que je dorme un peu puisque vous reposez.

On your young breast let me cradle my head Still ringing with your recent kisses; After love's sweet tumult grant it peace, And let me sleep a while, since you rest.

As the final piece of the cycle, "Spleen" describes a pleading lover and the ultimate fragility of the relationship at stake.