This thesis deals with the poetry of the famous Croatian artist Arsen Dedić. At the beginning of it we are being familiarised with Dedić's life, works and whose activity has been of a major importance for Croatian music and poetry. In the next chapter, in order to understand Dedić's importance, the social context of time is introduced. In the next chapters the role of „poet of synthesis“ is being explained as well the origin and the definition of (literary) chanson or author's songs who he was a representative of. And certainly, the role models and influences which have contributed to the creation of his own expression. The middle part of the thesis gives the overview of Dedić's collection of songs by the own choice, trying to give the representative way of the posibility of his expression and poetic achievements. The choice includes the collections: „Brod u boci“ (1971), „Narodne pjesme“ (1979), „Hotel Balkan“ (1987), „Pjesnik opće prakse“ (1993), „Čagalj“ (2000), „Padova“ (2004), „Zidne novine“ (2009) i „Kapi za oči“ (2012). In the collection „Brod u boci“ we meet a sentimental poet who sings about love, homeland,youth, friendship and infinity which is taking away happy moments from him so he is trying to find a consolation in the nostalgy with which no one has ever been consolated before. In the second collection „Narodne pjesme“ me meet a more mature poet, a young man who has met people and life, and who, as a real poet, has a necessity to speak about it. Certainly, he is doing it in a new, different way, choosing irony as his faithful companion.Therefore, from his titles it can be concluded that he sings to the people, when he actually sings against the people and their „values“.The third collection carries the title „Hotel 58 Balkan“ and sings about the vocation of the poets-poetry-and his own endeavour to write a qualitative song (etude), and about the everyday things that will outlive us. The fourth collection is: „Pjesnik opće prakse“ by which title he chooses to be versatile artist who sings about everything that bothers him, and not a specialised poet (engaged) poet. Moreover, in this collection he sings about war, war damage as well as about life, people, poetry. In the fifth collection „Čagalj“, we meet a completely new Dedić, who as a lonely wolf,jackals who is howling loudly, is yelling out of the pain and dissapointment of not being able to find a human in a world he lives. The title „Stepski vuk“ is a symbolic paralell of Zdravko Zima, with whom Arsen's Čagalj shares the same destiny.The sixth collection is „Padova“ which brings the thoughts of a person who by lying sick in a hospital discovers the other close reality, the death. After lying sick in Padova, it is impossible for such an experience not to leave any trace on a person. Therefore we can see that Dedić, in his new collection of songs „Zidne novine“ appears even more indignant, sadder, but more reconciled with himself. He is not looking anymore on the time as a stealer of the happy moments, but as a value which now has to be qualitatively used. The last Dedić's collection of the songs „Kapi za oči“ continues the idea of „Zidne novine“. By the symbolic title he warns us on politics, media, but on ourselves as well, society- emphasizing that we are the ones who can and need to change.