Noticed by the towns governor, Adrien de Montluc-Montesquiou, he became the writer of poetry and popular shows at the time of carnivals in Toulouse (he played music and danced).

From 1617 he published under the protection of the local big-wigs (Monluc), then Henri II de Montmorency, diverse pieces of a Baroque eclectism, often stuffed with double senses and full of inventiveness.

From then, without a protector, in a town marked by black years (plague, war...) Godolin was the victim of a new edition of his works which appeared in 1637, against his will.

But he is from time to time celebrated as a precursor of classicism (1678), as a carrier of the common local spirit, as a symbol of the Occitan poetry, a link between the poetry of the troubadours and the Félibrige movement, (Frédéric Mistral), as a glory of Toulouse, as a spokesman of the aristocracy (Jean Jaurès 1909), then after the 1960s as the singer of open cultural independence, Goudouli is regularly rediscovered.

(Liris* the shepherdess is more gentle and pretty Than can be found under the cover of the sky; With the vibratos which she makes on a new air The siren of the sea would be ravished.)

(A touch of the exquisite mixed with everything she says, A frisson which twists in a circle, A loving glint that escapes from her eye Onto any other beauty make hers complete.)

Simple mès coutinaut es soun habillomen, Et d'aqui me reben un gran countentomen Car atal elo par plus gentilo et bragardo.