This paper is about the connection between poetry and music as part of a comparative analysis of Dobriša Cesarić and Đorđe Balašević. The paper starts from a comparison of thematic circles that are characteristic for both authors, namely: love themes, social themes and the theme of human experience, transience and death. There is a difference in the last two thematic circles. The role of social themes in Balašević is most often a criticism of society, while social themes in Cesarić point to some kind of social injustice in a compassionate way. The role of the theme of nature in the two authors is also different. While in Cesarić's opus the theme of nature, childhood and homeland is often in the foreground of the poem, in Balašević we only encounter motifs of nature, childhood and homeland. Their purpose is to achieve the atmosphere in the song. However, the similarity of the authors can be seen in the way they use the motif of nature for the purpose of allegory. The difference between the themes of the authors is also in the fact that Cesarić's opus contains poems that separately thematize human experience, transience and death. In Balašević's lyrics, we can see that the thematic categories of human experience and death underlie the theme of transience. Therefore, Balašević uses motifs of human experience and death in his lyrics to better depict the theme of transience. Speaking of the themes that are specific to each author, in Cesarić's opus we can notice the theme of the relationship between poets and poetry, and in Balašević's opus, we can notice humorous and political poems. Also, the paper analyzes the communication method of the two authors through their texts. They have similarities in the way they communicate in the area of folk speech, category of time, lyrical narration and allegoricality. When we talk about elements that are directly related to music, the similarities shared by these two authors are found in the areas of bound verse, versification, rhythmicity and musicality. The relationship between poetry and music is especially evident when it comes to versification. When we pay attention to the type of verses that authors use, we come to the conclusion that Cesarić has a bigger artistic freedom in choosing the type of his verse than Balašević, whose music limits him in this aspect. In some poems, Cesarić plays with different types of verses that do not have their own correct order of repetition, which we do not find in Balašević, considering that his lyrics were written to be performed with music. It is important to point out that both authors use connected verse in their songs. It serves both of them to sonically connect the verses of the song and to build a rhythm. Also, the construction of rhythm in the poems of both authors is significantly influenced by figures of repetition and figures of construction. With both authors, we can see the influence of parallelism on the further appearance of the figure of repetition in the poem, which contributes to the rhythmicity of the poem. Also, with both authors the rhythm is influenced by asyndeton, ellipsis, repetition and anaphora. The construction of musicality is mostly based on figures of diction: alliteration and assonance. In the area of rhythmicity, the authors are also similar in the use of choruses in the poems. However, their choruses differ in that in Cesarić's songs, the choruses have primarily a compositional role, and secondarily the rhythmic one, given that it is poetry. On the contrary, Balašević's choruses have primarily a rhythmic, and secondarily the compositional role, given that these are lyrics that are written to be performed with music.