In the fields of comparative literature are included comparison literature with literature, literature with arts, and literature with literary theory. These are the basic fields of comparative literature emphasized by the international comparative literary societies such as, among others, International Comparative Literature Association(ICLA), Federation Internationale des Langues et Literatures Modernes(FILLM), and Knowledge, Creativity and Transformations of Societies(KCTOS). In comparing and investigating the relationship between French Symbolism(not symbolism) and Modern Korean Poetry, Taeseomunyesinbo (Western Literature and Arts) informs us various sources and examples in relation to the subject matter on Paul Verlaine`s "Chanson d`automne," which Eok Kim translated into Korean for the first time and retranslated it several times. Through his various translations of Verlaine`s "Chanson d`automne," Kim understood the importance of poetic musicality rather than poetic meaning, and he emphasized "De la musique avant toute chose" which is the first line of Verlaine`s "L`Art poetique." Verlainean poetic musicality leads Kim juxtapose French Symbolist cadences with those of Korean and he transforms traditional Korean cadences into modern styles. Kim`s efforts in recreating truly modern cadences can be found not only in his creative poems but also in the poetry of Sowol Kim, who is now generally accepted as one of the national poets. Hence it naturally follows that Eok Kim`s enthusiastic pursuits of Verlainean poetic musicality are inherited to the poetic language and rhythm of Sowel Kim during the 1920s. Another line of Verlaine`s influence on the modern Korean poetry is found in the poetry of Youngnang Kim, who is well known for his using the vernacular language of the southern part of Korea. With his statement that he was infatuated with Verlaine`s poetry, Kim made it clear that he was addicted to the Verlainean poetic musicality and he transformed it into his own poetic cadences. For the influence of Verlaine, I have compared one of Kim`s poems with Velaine`s "Il pleure dans mon coeur"; for the poetic musicality and rhythm I have analyzed Kim`s "Ecstatic Moonlight" in relation to Verlaine`s "Clair de lune." Kim`s enthusiasm of poetic musicality led him to realize the importance of traditional Korean music as well as the "Chokgi"(Spirit of Candlelight), not to lose the pure Korean mind during the period of foreign suppressions. Besides these three poets, there are various modern Korean poets whose trances tell us the footsepts of Verlaine`s poetic world: Seokwoo Hwang, Chongwha Park, Tongmyeong Kim, Mokwol Park, etc. With these discussions, I can tentatively conclude that the impact of Verlaine`s poetic musicality made those of modern Korean poets recognize not only the importance of recreating traditional Korean cadence in their poetry but also the necessity of developing truly Korean national language as well as vernacular for the poetic cadences.