The late nineteenth-century French poet Arthur Rimbaud is known just as much for his poetic output as for his personality. His made important contributions to modernist verse and aesthetics, and to Symbolism, insofar as he created a language of dissonance and discordance – in terms of rhythm and metre, sound, image, and vocabulary. This discordant language is a language of potential and openness made possible through the correspondances [correspondences] between the senses, often described by Rimbaud as ‘synaesthetic’, something he developed from Baudelaire’s notion of correspondance, or the association between the senses, meanings, the aesthetic and the play of these with the ‘spirit’ (both mind and spirit).