Adorno wrote in his Aesthetic Theory that the sensuality of Verlaine’s poetry, giving up sense for sensibility, built the sense on the lack of sense. He added that it is the most important potential for the artistic modernity. Debussy follows him and organizes a new space of representation of a world without theology / teleology. The more the sensuality takes place in the human experience the more the sense as “Reason”, “Law” and “Logics” disappears behind the perpetuum mobile of affects, unconscious motions and materiality. We would like to define this a- teleological aesthetics and to sketch the stylistic ways that both Verlaine as Debussy choose.