Symbolism Was International Movement in Art and Literature Championed by a Loose Affiliation

Late nineteenth-century fine art move of French, Russian and Belgian origin

Death and the Grave Digger (La Mort et le Fossoyeur) (c. 1895) by Carlos Schwabe is a visual compendium of symbolist motifs. The angel of Death, pristine snow, and the dramatic poses of the characters all express symbolist longings for transfiguration "anywhere, out of the earth".

Symbolism was a late 19th-century art move of French, Russian and Belgian origin in poetry and other arts seeking to represent accented truths symbolically through language and metaphorical images, mainly as a reaction confronting naturalism and realism.

In literature, the fashion originates with the 1857 publication of Charles Baudelaire's Les Fleurs du mal. The works of Edgar Allan Poe, which Baudelaire admired greatly and translated into French, were a meaning influence and the source of many stock tropes and images. The artful was developed by Stéphane Mallarmé and Paul Verlaine during the 1860s and 1870s. In the 1880s, the aesthetic was articulated by a serial of manifestos and attracted a generation of writers. The term "symbolist" was first applied past the critic Jean Moréas, who invented the term to distinguish the Symbolists from the related Decadents of literature and of art.

Etymology [edit]

The term symbolism is derived from the word "symbol" which derives from the Latin symbolum, a symbol of organized religion, and symbolus, a sign of recognition, in turn from classical Greek σύμβολον symbolon, an object cutting in half constituting a sign of recognition when the carriers were able to reassemble the two-halves. In ancient Greece, the symbolon was a shard of pottery which was inscribed and and so broken into two pieces which were given to the ambassadors from two allied urban center states every bit a record of the alliance.

Precursors and origins [edit]

Symbolism was largely a reaction against naturalism and realism, anti-idealistic styles which were attempts to correspond reality in its gritty particularity, and to elevate the humble and the ordinary over the ideal. Symbolism was a reaction in favour of spirituality, the imagination, and dreams.^[i] Some writers, such as Joris-Karl Huysmans, began as naturalists earlier becoming symbolists; for Huysmans, this change represented his increasing interest in religion and spirituality. Certain of the characteristic subjects of the Decadents represent naturalist interest in sexuality and taboo topics, simply in their instance this was mixed with Byronic romanticism and the world-weariness characteristic of the fin de siècle menstruum.

The Symbolist poets accept a more complex relationship with Parnassianism, a French literary style that immediately preceded information technology. While being influenced past hermeticism, allowing freer versification, and rejecting Parnassian clarity and objectivity, it retained Parnassianism'southward love of give-and-take play and business concern for the musical qualities of verse. The Symbolists connected to adore Théophile Gautier's motto of "art for art'southward sake", and retained – and modified – Parnassianism'due south mood of ironic disengagement.^[2] Many Symbolist poets, including Stéphane Mallarmé and Paul Verlaine, published early works in Le Parnasse contemporain, the verse anthologies that gave Parnassianism its proper name. Only Arthur Rimbaud publicly mocked prominent Parnassians and published scatological parodies of some of their main authors, including François Coppée – misattributed to Coppée himself – in Fifty'Anthology zutique.^[iii]

One of Symbolism'due south virtually colourful promoters in Paris was art and literary critic (and occultist) Joséphin Péladan, who established the Salon de la Rose + Croix. The Salon hosted a series of six presentations of avant-garde art, writing and music during the 1890s, to give a presentation infinite for artists embracing spiritualism, mysticism, and idealism in their piece of work. A number of Symbolists were associated with the Salon.

Movement [edit]

The Symbolist Manifesto [edit]

Jean Moréas published the Symbolist Manifesto ("Le Symbolisme") in Le Figaro on 18 September 1886 (see 1886 in poetry).^[4] The Symbolist Manifesto names Charles Baudelaire, Stéphane Mallarmé, and Paul Verlaine every bit the three leading poets of the movement. Moréas announced that symbolism was hostile to "plain meanings, declamations, false sentimentality and matter-of-fact clarification", and that its goal instead was to "clothe the Ideal in a perceptible grade" whose "goal was not in itself, only whose sole purpose was to express the Ideal."

Ainsi, dans cet art, les tableaux de la nature, les deportment des humains, tous les phénomènes concrets ne sauraient se manifester eux-mêmes; ce sont là des apparences sensibles destinées à représenter leurs affinités ésotériques avec des Idées primordiales.

(Thus, in this art movement, representations of nature, man activities and all existent life events don't stand on their ain; they are rather veiled reflections of the senses pointing to archetypal meanings through their esoteric connections.)^[iv] ^[5]

In a nutshell, equally Mallarmé writes in a alphabetic character to his friend Henri Cazalis, 'to depict non the thing but the effect information technology produces'.^[6]

Techniques [edit]

Portrait of Charles Baudelaire (c. 1862), whose writing was a forerunner of the symbolist style

The symbolist poets wished to liberate techniques of versification in guild to let greater room for "fluidity", and as such were sympathetic with the tendency toward free verse, equally evident in the poems of Gustave Kahn and Ezra Pound. Symbolist poems were attempts to evoke, rather than primarily to describe; symbolic imagery was used to signify the state of the poet'southward soul. T. Southward. Eliot was influenced by the poets Jules Laforgue, Paul Valéry and Arthur Rimbaud who used the techniques of the Symbolist schoolhouse,^[vii] though it has besides been said^{[ past whom? ]} that 'Imagism' was the manner to which both Pound and Eliot subscribed (see Pound's Des Imagistes). Synesthesia was a prized experience^{[ citation needed ]}; poets sought to place and confound the separate senses of scent, sound, and colour. In Baudelaire's verse form Correspondences (which mentions forêts de symboles ("forests of symbols") and is considered the touchstone of French Symbolism):^[viii]

Il est des parfums frais comme des chairs d'enfants,
Doux comme les hautbois, verts comme les prairies,
– Et d'autres, corrompus, riches et triomphants,
Ayant l'expansion des choses infinies,
Comme l'ambre, le musc, le benjoin et l'encens,
Qui chantent les transports de l'esprit et des sens.

(There are smells that are fresh like children's skin,
calm like oboes, green like meadows
– And others, rotten, exciting, and triumphant,

having the expansiveness of space things,
like amber, musk, benzoin, and incense,
which sing of the raptures of the soul and senses.)

and Rimbaud's verse form Voyelles:

A noir, Eastward blanc, I rouge, U vert, O bleu : voyelles…

(A blackness, Eastward white, I cherry-red, U greenish, O blue: vowels…)

– both poets seek to place one sense experience with another. The earlier Romanticism of poetry used symbols, but these symbols were unique and privileged objects. The symbolists were more than extreme, investing all things, even vowels and perfumes, with potential symbolic value. "The physical universe, and then, is a kind of language that invites a privileged spectator to decipher information technology, although this does not yield a unmarried message and then much as a superior network of associations."^[ix] Symbolist symbols are not allegories, intended to represent; they are instead intended to evoke particular states of mind. The nominal bailiwick of Mallarmé's "Le cygne" ("The Swan") is of a swan trapped in a frozen lake. Significantly, in French, cygne is a homophone of signe, a sign. The overall upshot is of overwhelming whiteness; and the presentation of the narrative elements of the description is quite indirect:

Le vierge, le vivace, et le bel aujourd'hui
Va-t-il nous déchirer avec united nations coup d'aile ivre
Ce lac dur oublié que hante sous le givre
Le transparent glacier des vols qui n'ont pas fui!
Un cygne d'autrefois se souvient que c'est lui
Magnifique mais qui sans espoir se délivre…

(The virgin, lively, and beautiful today – volition it tear us up with a drunken wingbeat this difficult forgotten lake that lurks beneath the frost, the transparent glacier of flights not taken with a blow from a drunken wing? A swan of long agone remembers that information technology is he, magnificent but without hope, who breaks free…)

Paul Verlaine and the poètes maudits [edit]

Of the several attempts at defining the essence of symbolism, maybe none was more than influential than Paul Verlaine's 1884 publication of a series of essays on Tristan Corbière, Arthur Rimbaud, Stéphane Mallarmé, Marceline Desbordes-Valmore, Gérard de Nerval, and "Pauvre Lelian" ("Poor Lelian", an anagram of Paul Verlaine's ain proper noun), each of whom Verlaine numbered amid the poètes maudits, "accursed poets."

Verlaine argued that in their individual and very different ways, each of these hitherto neglected poets found genius a expletive; it isolated them from their contemporaries, and as a issue these poets were not at all concerned to avert hermeticism and idiosyncratic writing styles.^[10] They were also portrayed as at odds with social club, having tragic lives, and ofttimes given to self-destructive tendencies. These traits were non hindrances only consequences of their literary gifts. Verlaine's concept of the poète maudit in turn borrows from Baudelaire, who opened his drove Les fleurs du mal with the poem Bénédiction, which describes a poet whose internal serenity remains undisturbed by the contempt of the people surrounding him.^[11]

In this conception of genius and the role of the poet, Verlaine referred indirectly to the aesthetics of Arthur Schopenhauer, the philosopher of pessimism, who maintained that the purpose of fine art was to provide a temporary refuge from the world of strife of the will.^[12]

Philosophy [edit]

Schopenhauer's aesthetics represented shared concerns with the symbolist programme; they both tended to consider Art as a wistful refuge from the world of strife and volition. As a upshot of this want for an artistic refuge, the symbolists used characteristic themes of mysticism and otherworldliness, a not bad sense of mortality, and a sense of the malign ability of sexuality, which Albert Samain termed a "fruit of death upon the tree of life."^[xiii] Mallarmé's poem Les fenêtres ^[14] expresses all of these themes clearly. A dying man in a hospital bed, seeking escape from the pain and dreariness of his physical surroundings, turns toward his window just so turns abroad in disgust from

… 50'homme à 50'âme dure
Vautré dans le bonheur, où ses seuls appétits
Mangent, et qui due south'entête à chercher cette ordure
Pour l'offrir à la femme allaitant ses petits, …

(… the hard-souled man,
Wallowing in happiness, where but his appetites
Feed, and who insists on seeking out this filth
To offer to the wife suckling his children, …)

and in contrast, he "turns his back on life" (tourne l'épaule à la vie) and he exclaims:

Je me mire et me vois ange! Et je meurs, et j'aime
– Que la vitre soit l'art, soit la mysticité –
A renaître, portant monday rêve en diadème,
Au ciel antérieur où fleurit la Beauté!

(I expect at myself and I seem similar an angel! and I die, and I love
– Whether the mirror might be fine art, or mysticism –
To be reborn, bearing my dream as a crown,
Under that former sky where Beauty flourishes!)

Symbolists and decadents [edit]

The symbolist way has frequently been confused with the Corrupt movement, the proper noun derived from French literary critics in the 1880s, suggesting the writers were self indulgent and obsessed with taboo subjects.^[xv] While a few writers embraced the term, nigh avoided it. Jean Moréas' manifesto was largely a response to this polemic. Past the late 1880s, the terms "symbolism" and "decadence" were understood to be near synonymous.^[16] Though the aesthetics of the styles can be considered similar in some ways, the two remain distinct. The symbolists were those artists who emphasized dreams and ideals; the Decadents cultivated précieux, ornamented, or hermetic styles, and morbid subject matters.^[17] The discipline of the decadence of the Roman Empire was a frequent source of literary images and appears in the works of many poets of the period, regardless of which name they chose for their manner, as in Verlaine'south "Langueur":^[18]

Je suis l'Empire à la fin de la Décadence,
Qui regarde passer les grands Barbares blancs
En composant des acrostiches indolents
D'un style d'or où la langueur du soleil danse.

(I am the Empire at the endgame of decadence, watching the bully pale barbarians passing by, all the while composing lazy acrostic poems in a gilded style where the languishing dominicus dances.)

Periodical literature [edit]

A number of important literary publications were founded by symbolists or became associated with the style. The first was La Vogue initiated in April 1886. In October of that same twelvemonth, Jean Moréas, Gustave Kahn, and Paul Adam began the periodical Le Symboliste. One of the about of import symbolist journals was Mercure de French republic, edited by Alfred Vallette, which succeeded La Pléiade; founded in 1890, this periodical endured until 1965. Pierre Louÿs initiated La conque, a journal whose symbolist influences were alluded to past Jorge Luis Borges in his story Pierre Menard, Author of the Quixote. Other symbolist literary magazines included La Revue blanche, La Revue wagnérienne, La Plume and La Wallonie.

Rémy de Gourmont and Félix Fénéon were literary critics associated with symbolism. The symbolist and corrupt literary styles were satirized by a volume of poetry, Les Déliquescences d'Adoré Floupette, published in 1885 by Henri Beauclair and Gabriel Vicaire.^[xix]

In other media [edit]

Visual arts [edit]

Symbolism in literature is distinct from symbolism in art although the two were similar in many aspects. In painting, symbolism can be seen as a revival of some mystical tendencies in the Romantic tradition, and was shut to the self-consciously morbid and private decadent motility.

There were several rather dissimilar groups of Symbolist painters and visual artists, which included Paul Gauguin, Gustave Moreau, Gustav Klimt, Mikalojus Konstantinas Čiurlionis, Jacek Malczewski, Odilon Redon, Pierre Puvis de Chavannes, Henri Fantin-Latour, Gaston Bussière, Edvard Munch, Fernand Khnopff, Félicien Rops, and Jan Toorop. Symbolism in painting was even more widespread geographically than symbolism in verse, affecting Mikhail Vrubel, Nicholas Roerich, Victor Borisov-Musatov, Martiros Saryan, Mikhail Nesterov, Léon Bakst, Elena Gorokhova in Russian federation, likewise as Frida Kahlo in Mexico^{[ citation needed ]}, Elihu Vedder, Remedios Varo, Morris Graves and David Chetlahe Paladin in the United states of america. Auguste Rodin is sometimes considered a symbolist sculptor.

The symbolist painters used mythological and dream imagery. The symbols used by symbolism are not the familiar emblems of mainstream iconography but intensely personal, individual, obscure and cryptic references. More a philosophy than an actual way of fine art, symbolism in painting influenced the contemporary Art Nouveau style and Les Nabis.^[12]

Music [edit]

Symbolism had some influence on music as well. Many symbolist writers and critics were early enthusiasts of the music of Richard Wagner,^[20] an avid reader of Schopenhauer.

The symbolist aesthetic afflicted the works of Claude Debussy. His choices of libretti, texts, and themes come almost exclusively from the symbolist canon. Compositions such every bit his settings of Cinq poèmes de Charles Baudelaire, diverse art songs on poems by Verlaine, the opera Pelléas et Mélisande with a libretto past Maurice Maeterlinck, and his unfinished sketches that illustrate two Poe stories, The Devil in the Belfry and The Fall of the House of Usher, all indicate that Debussy was greatly influenced by symbolist themes and tastes. His best known work, the Prélude à l'après-midi d'un faune, was inspired by Mallarmé's poem, L'après-midi d'un faune.^[21]

The symbolist artful as well influenced Aleksandr Scriabin's compositions. Arnold Schoenberg's Pierrot Lunaire takes its text from German translations of the symbolist poems by Albert Giraud, showing an association between High german expressionism and symbolism. Richard Strauss'south 1905 opera Salomé, based on the play by Oscar Wilde, uses a subject frequently depicted by symbolist artists.

Prose fiction [edit]

Symbolism's style of the static and hieratic adapted less well to narrative fiction than it did to poetry. Joris-Karl Huysmans' 1884 novel À rebours (English title: Against Nature or Confronting the Grain) explored many themes that became associated with the symbolist aesthetic. This novel, in which very little happens, catalogues the psychology of Des Esseintes, an eccentric, reclusive antihero. Oscar Wilde was influenced by the novel as he wrote Salome, and Huysman'south book appears in The Picture of Dorian Gray: the titular grapheme becomes corrupted afterwards reading the book.^[22]

Paul Adam was the most prolific and representative author of symbolist novels.^{[ citation needed ]} Les Demoiselles Goubert (1886), co-written with Jean Moréas, is an important transitional work between naturalism and symbolism. Few symbolists used this form. One exception was Gustave Kahn, who published Le Roi fou in 1896. In 1892, Georges Rodenbach wrote the curt novel Bruges-la-morte, set in the Flemish town of Bruges, which Rodenbach described equally a dying, medieval city of mourning and repose contemplation: in a typically symbolist juxtaposition, the dead city contrasts with the diabolical re-awakening of sexual want.^[23] The cynical, misanthropic, misogynistic fiction of Jules Barbey d'Aurevilly is sometimes considered symbolist, also. Gabriele d'Annunzio wrote his first novels in the symbolist manner.

Theatre [edit]

The characteristic accent on an internal life of dreams and fantasies accept made symbolist theatre hard to reconcile with more contempo trends. Auguste Villiers de l'Island-Adam's drama Axël (rev. ed. 1890) is a definitive symbolist play. In it, two Rosicrucian aristocrats become enamored of each other while trying to kill each other, merely to agree to commit suicide mutually considering nothing in life could equal their fantasies. From this play, Edmund Wilson adopted the title Axel's Castle for his influential study of the symbolist literary aftermath.

Maurice Maeterlinck, too a symbolist playwright, wrote The Blind (1890), The Intruder (1890), Interior (1891), Pelléas and Mélisande (1892), and The Blueish Bird (1908). Eugénio de Castro is considered one of the introducers of Symbolism in the Iberian Peninsula. He wrote Belkiss, "dramatic prose-poem" equally he called it, nigh the doomed passion of Belkiss, The Queen of Sheba, to Solomon, depicting in an avant-garde and tearing fashion the psychological tension and recreating very accurately the tenth century BC Israel. He also wrote King Galaor and Polycrates' Ring, being ane of the most prolific Symbolist theoriticians.^[24]

Lugné-Poe (1869–1940) was an actor, director, and theatre producer of the late nineteenth century. Lugné-Poe "sought to create a unified nonrealistic theatre of verse and dreams through atmospheric staging and stylized acting".^[25] Upon learning most symbolist theatre, he never wanted to exercise whatever other class. Subsequently starting time equally an actor in the Théâtre Libre and Théâtre d'Art, Lugné-Poe grasped on to the symbolist movement and founded the Théâtre de l'Œuvre where he was manager from 1892 until 1929. Some of his greatest successes include opening his ain symbolist theatre, producing the outset staging of Alfred Jarry'southward Ubu Roi (1896), and introducing French theatregoers to playwrights such equally Ibsen and Strindberg.^[25]

The later works of the Russian playwright Anton Chekhov have been identified by essayist Paul Schmidt as being much influenced by symbolist cynicism.^[26] Both Konstantin Stanislavski and Vsevolod Meyerhold experimented with symbolist modes of staging in their theatrical endeavors.

Drama by symbolist authors formed an important office of the repertoire of the Théâtre de 50'Œuvre and the Théâtre d'Art.

Effect [edit]

Blackness night.
White snow.
The wind, the wind!
It will non permit y'all become. The wind, the wind!
Through God'south whole world it blows

The wind is weaving
The white snow.
Brother ice peeps from below
Stumbling and tumbling
Folk slip and autumn.
God pity all!

From "The Twelve" (1918)
Trans. Babette Deutsch and Avrahm Yarmolinsky^[27]

Nighttime, street and streetlight, drug store,
The purposeless, half-dim, drab light.
For all the employ live on a quarter century –
Nothing volition change. There's no way out.

Y'all'll dice – and offset all over, live twice,
Everything repeats itself, merely as it was:
Night, the canal's rippled icy surface,
The drug shop, the street, and streetlight.

"Night, street and streetlight, drugstore..." (1912) Trans. past Alex Cigale

Among English-speaking artists, the closest counterpart to symbolism was aestheticism. The Pre-Raphaelites were contemporaries of the earlier symbolists, and take much in common with them. Symbolism had a significant influence on modernism (Remy de Gourmont considered the Imagists were its descendants)^[28] and its traces can also be detected in the piece of work of many modernist poets, including T. S. Eliot, Wallace Stevens, Conrad Aiken, Hart Crane, and W. B. Yeats in the anglophone tradition and Rubén Darío in Hispanic literature. The early poems of Guillaume Apollinaire have stiff affinities with symbolism. Early Portuguese Modernism was heavily influenced by Symbolist poets, especially Camilo Pessanha; Fernando Pessoa had many affinities to Symbolism, such as mysticism, musical versification, subjectivism and transcendentalism.

Edmund Wilson's 1931 written report Axel's Castle focuses on the continuity with symbolism and several of import writers of the early twentieth century, with a particular accent on Yeats, Eliot, Paul Valéry, Marcel Proust, James Joyce, and Gertrude Stein. Wilson concluded that the symbolists represented a dreaming retreat into

things that are dying–the whole belle-lettristic tradition of Renaissance civilization maybe, compelled to specialize more and more than, more than and more driven in on itself, every bit industrialism and autonomous education have come to printing information technology closer and closer. ^[29]

Later the offset of the 20th century, symbolism had a major effect on Russian poetry fifty-fifty as it became less popular in France. Russian symbolism, steeped in the doctrines of Eastern Orthodoxy and the spiritual ideas of Vladimir Solovyov, had little in common with the French manner of the aforementioned name. Information technology began the careers of several major poets such as Alexander Blok, Andrei Bely, and Marina Tsvetaeva. Bely'due south novel Petersburg (1912) is considered the greatest example of Russian symbolist prose.

Primary influences on the style of Russian Symbolism were the irrationalistic and mystical poetry and philosophy of Fyodor Tyutchev and Solovyov, the novels of Fyodor Dostoyevsky, the operas of Richard Wagner,^[30] the philosophy of Arthur Schopenhauer^[31] and Friedrich Nietzsche,^[32] French symbolist and decadent poets (such as Stéphane Mallarmé, Paul Verlaine and Charles Baudelaire), and the dramas of Henrik Ibsen.

The style was largely inaugurated by Nikolai Minsky'southward article The Ancient Debate (1884) and Dmitry Merezhkovsky's book On the Causes of the Reject and on the New Trends in Gimmicky Russian Literature (1892). Both writers promoted extreme individualism and the human activity of creation. Merezhkovsky was known for his poesy as well every bit a serial of novels on god-men, among whom he counted Christ, Joan of Arc, Dante, Leonardo da Vinci, Napoleon, and (later) Hitler. His wife, Zinaida Gippius, also a major poet of early symbolism, opened a salon in St Petersburg, which came to be known as the "headquarters of Russian decadence". Andrei Bely'south Petersburg (novel) a portrait of the social strata of the Russian capital letter, is often cited every bit a tardily example of Symbolism in 20th century Russian literature.

In Romania, symbolists directly influenced by French poetry first gained influence during the 1880s, when Alexandru Macedonski reunited a group of young poets associated with his magazine Literatorul. Polemicizing with the established Junimea and overshadowed by the influence of Mihai Eminescu, Romanaian symbolism was recovered as an inspiration during and after the 1910s, when it was exampled past the works of Tudor Arghezi, Ion Minulescu, George Bacovia, Mateiu Caragiale, Tristan Tzara and Tudor Vianu, and praised by the modernist magazine Sburătorul.

The symbolist painters were an important influence on expressionism and surrealism in painting, ii movements which descend straight from symbolism proper. The harlequins, paupers, and clowns of Pablo Picasso's "Blue Menstruum" show the influence of symbolism, and especially of Puvis de Chavannes. In Belgium, symbolism became so popular that information technology came to exist known as a national fashion, especially in landscape painting:^[33] the static strangeness of painters like René Magritte tin can be considered equally a direct continuation of symbolism. The work of some symbolist visual artists, such equally Jan Toorop, direct affected the curvilinear forms of fine art nouveau.

Many early motion pictures also apply symbolist visual imagery and themes in their staging, prepare designs, and imagery. The films of German expressionism owe a slap-up deal to symbolist imagery. The virginal "good girls" seen in the cinema of D. West. Griffith, and the silent film "bad girls" portrayed by Theda Bara, both show the continuing influence of symbolism, as do the Babylonian scenes from Griffith's Intolerance. Symbolist imagery lived on longest in horror film: as tardily as 1932, Carl Theodor Dreyer'due south Vampyr showed the obvious influence of symbolist imagery; parts of the pic resemble tableau vivant re-creations of the early paintings of Edvard Munch.^[34]

Symbolists [edit]

Precursors [edit]

William Blake (1757–1827) English language writer (Songs of Innocence)
Caspar David Friedrich (1774–1840) German painter (Wanderer above the Body of water of Fog)
Alexander Pushkin (1799–1837) Russian poet and author (Eugene Onegin)
Prosper Mérimée (1803–1870) French novelist
Đorđe Marković Koder (1806–1891) Serbian poet (Romoranka)
Gérard de Nerval (1808–1855) French poet
Jules Amédée Barbey d'Aurevilly (1808–1889) French writer
Edgar Allan Poe (1809–1849) American poet and author (The Narrative of Arthur Gordon Pym of Nantucket)
Mikhail Lermontov (1814–1841) Russian poet and writer (A Hero of Our Time)
Charles Baudelaire (1821–1867) French poet (Les Fleurs du mal)
Gustave Flaubert (1821–1880) French writer (Madame Bovary)
Dante Gabriel Rossetti (1828–1882) English poet and painter (Beata Beatrix)
Christina Rossetti (1830–1894) English poet

[edit]

Influence in English literature [edit]

English language authors who influenced or were influenced by symbolism include:

Conrad Aiken (1889–1973)
Max Beerbohm (1872–1956)
Christopher Brennan - (1870-1932)
Roy Campbell (1900-1957)
Hart Crane (1899–1932)
Olive Custance (1874–1944)
Ernest Dowson (1867–1900)
T. S. Eliot (1888–1965)
James Elroy Flecker (1884–1915)
John Grayness (1866–1934)
George MacDonald (1824–1905)
Arthur Machen (1863–1947)
Katherine Mansfield (1888–1923)
Edith Sitwell (1887–1964)
Clark Ashton Smith (1893–1961)
George Sterling (1869–1926)
Wallace Stevens (1879–1955)
Algernon Charles Swinburne (1837–1909)
Francis Thompson (1859–1907)
Rosamund Marriott Watson (1860–1911)
Oscar Wilde (1854–1900)
W. B. Yeats (1865–1939)

Symbolist visual artists [edit]

Symbolist playwrights [edit]

Gerhart Hauptmann (1862–1946) German
Federico García Lorca (1898–1936) Castilian
Maurice Maeterlinck (1862–1949) Belgian
Lugné-Poe (1869–1940) French

Composers affected past symbolist ideas [edit]

Gallery [edit]

See besides [edit]

Abbaye de Créteil
Belle Époque
Sigmund Freud
Synthetism
The Yellow Volume
Visionary art

References [edit]

^ Balakian, Anna, The Symbolist Movement: a critical appraisement. Random House, 1967, ch. 2.
^ Balakian, see above; run across also Houston, introduction.
^ "Anthology zutique – Wikisource". fr.wikisource.org.
^ ^a ^b Jean Moréas, Un Manifeste littéraire, Le Symbolisme, Le Figaro. Supplément Littéraire, No. 38, Saturday 18 September 1886, p. 150, Bibliothèque nationale de France, Gallica
^ Jean Moréas, Le Manifeste du Symbolisme, Le Figaro, 1886.
^ Conway Morris, Roderick "The Elusive Symbolist movement" – International Herald Tribune, 17 March 2007.
^ Untermeyer, Louis, Preface to Modernistic American Poesy Harcourt Brace & Co New York 1950
^ Pratt, William. The Imagist Poem, Mod Poetry in Miniature (Story Line Press, 1963, expanded 2001). ISBN 1-58654-009-2
^ Olds, Align C. "Literary Symbolism", originally published (as Chapter 14) in A Companion to Modernist Literature and Culture, edited past David Bradshaw and Kevin J. H. Dettmar. Malden, MA : Blackwell Publishing, 2006. Pages 155–162.
^ Paul Verlaine, Les Poètes maudits
^ Charles Baudelaire, Bénédiction
^ ^a ^b Delvaille, Bernard, La poésie symboliste: anthologie, introduction. ISBN 2-221-50161-six
^ Luxure, fruit de mort à l'arbre de la vie... , Albert Samain, "Luxure", in the publication Au jardin de l'infante (1889)
^ Stéphane Mallarmé, Les fenêtres Archived 9 December 2004 at the Wayback Machine
^ "What Was the Decadent Movement in Literature? (with pictures)". wiseGEEK.
^ David Schimmelpenninck van der Oye, Russian orientalism: Asia in the Russian listen from Peter the Great to the emigration, New Haven: Yale Up, 2010, p. 211 (online).
^ Olds, see above, p. 160.
^ Langueur, from Jadis et Naguère, 1884
^ Henri Beauclair and Gabriel Vicaire, Les Déliquescences d'Adoré Floupette (1885)
Les Déliquescences – poèmes décadents d'Adoré Floupette, avec sa vie par Marius Tapora past Henri Beauclair and Gabriel Vicaire (in French)
^ Jullian Phillipe, The Symbolists, 1977, p. 8
^ "Symbolism – Symbolism And Music". science.jrank.org.
^ Joris–Karl Huysmans, Decadent novel À rebours, or, Against Nature, Paris, 1891
^ Alan Hollinghurst, "Bruges of sighs" (The Guardian, 29 January. 2005, accessed 26 Apr 2009
^ Saraiva, Lopes, António José, Óscar (2017). História da Literatura Portuguesa (17th ed.). Lisboa: Porto Editora. ISBN978-972-0-30170-3.
^ ^a ^b "Symbolist Movement". Encyclopædia Britannica . Retrieved 3 Apr 2012.
^ The Plays of Anton Chekhov, trans. Paul Schmidt (1997)
^ Blok, Alexander; Yarmolinsky, Avrahm; Deutsch, Babette (1929). "The Twelve". The Slavonic and Due east European Review. 8 (22): 188–198. JSTOR 4202372.
^ de Gourmont, Remy. La French republic (1915)
^ Quoted in Brooker, Joseph (2004). Joyce's Critics: Transitions in Reading and Civilisation. Madison, Wisc.: University of Wisconsin Press. p. 73. ISBN978-0299196042.
^ "Symbolist Visions; The role of music in the paintings of M. K. Ciurlionis – Nathalie Lorand". lituanus.org.
^ Sobolev, Olga (2017). The symbol of the symbolists: Aleksandr Blok in the changing Russian literary catechism. Open Volume Publishers. p. 147. ISBN9781783740888 . Retrieved 12 Nov 2021.
^ Boris Christa, 'Andrey Bely and the Symbolist Motion in Russia' in The Symbolist Movement in the Literature of European Languages John Benjamins Publishing Company, 1984, p. 389
^ Philippe Jullian, The Symbolists, 1977, p. 55
^ Jullian, Philippe, The Symbolists. (Dutton, 1977) ISBN 0-7148-1739-ii

External links [edit]

Collection of German Symbolist art The Jack Daulton Collection
Les Poètes maudits by Paul Verlaine (in French)
ArtMagick The Symbolist Gallery
What is Symbolism in Fine art Ten Dreams Galleries – extensive article on Symbolism
Symbolism Archived nineteen May 2012 at the Wayback Machine Gustave Moreau, Puvis de Chavannes, Odilon Redon
Literary Symbolism Published in A Companion to Modernist Literature and Civilization (2006)

mouzonpuppect.blogspot.com

Source: https://en.wikipedia.org/wiki/Symbolism_(arts)