The Use or Study of Symbols in Art Is Called

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

Decease 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 limited symbolist longings for transfiguration "anywhere, out of the world".

Symbolism was a late 19th-century art movement 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 style originates with the 1857 publication of Charles Baudelaire's Les Fleurs du mal. The works of Edgar Allan Poe, which Baudelaire admired profoundly and translated into French, were a significant influence and the source of many stock tropes and images. The aesthetic was developed past 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 commencement applied by 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 discussion "symbol" which derives from the Latin symbolum, a symbol of faith, and symbolus, a sign of recognition, in turn from classical Greek σύμβολον symbolon, an object cut in half constituting a sign of recognition when the carriers were able to reassemble the two-halves. In aboriginal Hellenic republic, 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 brotherhood.

Precursors and origins [edit]

Symbolism was largely a reaction against naturalism and realism, anti-idealistic styles which were attempts to represent reality in its gritty particularity, and to drag the humble and the ordinary over the ideal. Symbolism was a reaction in favour of spirituality, the imagination, and dreams.^[one] Some writers, such as Joris-Karl Huysmans, began every bit naturalists before becoming symbolists; for Huysmans, this modify represented his increasing involvement in organized religion and spirituality. Certain of the characteristic subjects of the Decadents represent naturalist interest in sexuality and taboo topics, but in their example this was mixed with Byronic romanticism and the globe-weariness characteristic of the fin de siècle period.

The Symbolist poets have a more circuitous human relationship with Parnassianism, a French literary style that immediately preceded it. While existence influenced by hermeticism, allowing freer versification, and rejecting Parnassian clarity and objectivity, information technology retained Parnassianism'due south love of word play and business organisation for the musical qualities of verse. The Symbolists continued to admire Théophile Gautier's motto of "art for fine art'south sake", and retained – and modified – Parnassianism'southward mood of ironic detachment.^[ii] Many Symbolist poets, including Stéphane Mallarmé and Paul Verlaine, published early works in Le Parnasse contemporain, the poetry anthologies that gave Parnassianism its proper name. Only Arthur Rimbaud publicly mocked prominent Parnassians and published scatological parodies of some of their master authors, including François Coppée – misattributed to Coppée himself – in 50'Album zutique.^[3]

1 of Symbolism'due south about 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.

Move [edit]

The Symbolist Manifesto [edit]

Jean Moréas published the Symbolist Manifesto ("Le Symbolisme") in Le Figaro on eighteen September 1886 (see 1886 in poetry).^[iv] The Symbolist Manifesto names Charles Baudelaire, Stéphane Mallarmé, and Paul Verlaine as the 3 leading poets of the movement. Moréas announced that symbolism was hostile to "patently meanings, declamations, imitation sentimentality and matter-of-fact description", and that its goal instead was to "clothe the Ideal in a perceptible grade" whose "goal was not in itself, merely whose sole purpose was to express the Ideal."

Ainsi, dans cet art, les tableaux de la nature, les actions 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, human activities and all real life events don't stand on their own; they are rather veiled reflections of the senses pointing to archetypal meanings through their esoteric connections.)^[4] ^[5]

In a nutshell, every bit Mallarmé writes in a letter to his friend Henri Cazalis, 'to draw not the thing but the effect it 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 allow greater room for "fluidity", and as such were sympathetic with the tendency toward free verse, as 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's soul. T. S. Eliot was influenced by the poets Jules Laforgue, Paul Valéry and Arthur Rimbaud who used the techniques of the Symbolist school,^[seven] though it has likewise been said^{[ by whom? ]} that 'Imagism' was the style to which both Pound and Eliot subscribed (see Pound'south Des Imagistes). Synesthesia was a prized experience^{[ citation needed ]}; poets sought to identify and confound the separate senses of scent, sound, and colour. In Baudelaire'south poem 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 fifty'expansion des choses infinies,
Comme fifty'ambre, le musc, le benjoin et l'encens,
Qui chantent les transports de fifty'esprit et des sens.

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

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

and Rimbaud's verse form Voyelles:

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

(A blackness, Due east white, I red, U green, O blue: vowels…)

– both poets seek to identify ane sense feel with some other. The before Romanticism of poesy used symbols, but these symbols were unique and privileged objects. The symbolists were more extreme, investing all things, even vowels and perfumes, with potential symbolic value. "The physical universe, then, is a kind of language that invites a privileged spectator to decipher it, although this does not yield a single message so much equally a superior network of associations."^[9] Symbolist symbols are not allegories, intended to correspond; they are instead intended to evoke item states of heed. The nominal field of study 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 effect 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 un insurrection d'aile ivre
Ce lac dur oublié que hante sous le givre
Le transparent glacier des vols qui n'ont pas fui!
United nations cygne d'autrefois se souvient que c'est lui
Magnifique mais qui sans espoir se délivre…

(The virgin, lively, and cute today – will information technology tear united states upwardly 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 it is he, magnificent only without hope, who breaks free…)

Paul Verlaine and the poètes maudits [edit]

Of the several attempts at defining the essence of symbolism, perhaps none was more 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 own name), each of whom Verlaine numbered amidst the poètes maudits, "accursed poets."

Verlaine argued that in their individual and very different ways, each of these hitherto neglected poets constitute genius a curse; it isolated them from their contemporaries, and as a result these poets were non at all concerned to avert hermeticism and idiosyncratic writing styles.^[10] They were also portrayed every bit at odds with club, having tragic lives, and ofttimes given to cocky-destructive tendencies. These traits were not hindrances but consequences of their literary gifts. Verlaine's concept of the poète maudit in plough borrows from Baudelaire, who opened his collection Les fleurs du mal with the poem Bénédiction, which describes a poet whose internal tranquility 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 contemplative refuge from the world of strife and will. As a effect of this desire for an artistic refuge, the symbolists used characteristic themes of mysticism and otherworldliness, a slap-up sense of mortality, and a sense of the malign power of sexuality, which Albert Samain termed a "fruit of death upon the tree of life."^[13] Mallarmé'southward verse form 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 concrete surroundings, turns toward his window but so turns away in disgust from

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

(… the hard-souled man,
Wallowing in happiness, where only 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 dorsum on life" (tourne 50'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 mon rêve en diadème,
Au ciel antérieur où fleurit la Beauté!

(I wait at myself and I seem like an affections! 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 erstwhile heaven where Dazzler flourishes!)

Symbolists and decadents [edit]

The symbolist mode has often been confused with the Decadent movement, the proper noun derived from French literary critics in the 1880s, suggesting the writers were cocky indulgent and obsessed with taboo subjects.^[15] While a few writers embraced the term, virtually avoided it. Jean Moréas' manifesto was largely a response to this polemic. Past the tardily 1880s, the terms "symbolism" and "decadence" were understood to be almost synonymous.^[16] Though the aesthetics of the styles tin 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 area matters.^[17] The subject field 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 proper noun 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 mode d'or où la langueur du soleil danse.

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

Periodical literature [edit]

A number of of import literary publications were founded by symbolists or became associated with the way. The first was La Vogue initiated in Apr 1886. In Oct of that same yr, Jean Moréas, Gustave Kahn, and Paul Adam began the periodical Le Symboliste. Ane of the most important symbolist journals was Mercure de France, edited by Alfred Vallette, which succeeded La Pléiade; founded in 1890, this journal endured until 1965. Pierre Louÿs initiated La conque, a periodical whose symbolist influences were alluded to by Jorge Luis Borges in his story Pierre Menard, Writer 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 decadent literary styles were satirized past a book of poetry, Les Déliquescences d'Adoré Floupette, published in 1885 by Henri Beauclair and Gabriel Vicaire.^[nineteen]

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 close to the cocky-consciously morbid and private corrupt move.

In that location 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 poetry, affecting Mikhail Vrubel, Nicholas Roerich, Victor Borisov-Musatov, Martiros Saryan, Mikhail Nesterov, Léon Bakst, Elena Gorokhova in Russia, as well as Frida Kahlo in Mexico^{[ citation needed ]}, Elihu Vedder, Remedios Varo, Morris Graves and David Chetlahe Paladin in the United States. 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, private, obscure and cryptic references. More a philosophy than an actual style of art, symbolism in painting influenced the contemporary Art Nouveau style and Les Nabis.^[12]

Music [edit]

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

The symbolist aesthetic affected the works of Claude Debussy. His choices of libretti, texts, and themes come virtually exclusively from the symbolist canon. Compositions such as his settings of Cinq poèmes de Charles Baudelaire, various art songs on poems by Verlaine, the opera Pelléas et Mélisande with a libretto by 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 signal that Debussy was greatly influenced by symbolist themes and tastes. His all-time known work, the Prélude à 50'après-midi d'united nations faune, was inspired by Mallarmé's verse form, L'après-midi d'united nations faune.^[21]

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

Prose fiction [edit]

Symbolism's manner of the static and hieratic adapted less well to narrative fiction than it did to verse. 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 trivial happens, catalogues the psychology of Des Esseintes, an eccentric, reclusive antihero. Oscar Wilde was influenced by the novel as he wrote Salome, and Huysman's book appears in The Picture of Dorian Grey: the titular character becomes corrupted after 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 class. One exception was Gustave Kahn, who published Le Roi fou in 1896. In 1892, Georges Rodenbach wrote the short novel Bruges-la-morte, set in the Flemish town of Bruges, which Rodenbach described as a dying, medieval urban center of mourning and quiet contemplation: in a typically symbolist juxtaposition, the dead metropolis contrasts with the diabolical re-awakening of sexual desire.^[23] The contemptuous, misanthropic, misogynistic fiction of Jules Barbey d'Aurevilly is sometimes considered symbolist, as well. Gabriele d'Annunzio wrote his showtime novels in the symbolist way.

Theatre [edit]

The characteristic accent on an internal life of dreams and fantasies have made symbolist theatre difficult to reconcile with more recent trends. Auguste Villiers de l'Island-Adam's drama Axël (rev. ed. 1890) is a definitive symbolist play. In it, 2 Rosicrucian aristocrats get enamored of each other while trying to kill each other, simply to agree to commit suicide mutually considering nothing in life could equal their fantasies. From this play, Edmund Wilson adopted the title Axel'south Castle for his influential study of the symbolist literary aftermath.

Maurice Maeterlinck, likewise a symbolist playwright, wrote The Bullheaded (1890), The Intruder (1890), Interior (1891), Pelléas and Mélisande (1892), and The Blue Bird (1908). Eugénio de Castro is considered 1 of the introducers of Symbolism in the Iberian Peninsula. He wrote Belkiss, "dramatic prose-poem" as he called it, nearly the doomed passion of Belkiss, The Queen of Sheba, to Solomon, depicting in an advanced and fierce manner the psychological tension and recreating very accurately the tenth century BC Israel. He also wrote King Galaor and Polycrates' Ring, being one of the well-nigh prolific Symbolist theoriticians.^[24]

Lugné-Poe (1869–1940) was an actor, director, and theatre producer of the tardily nineteenth century. Lugné-Poe "sought to create a unified nonrealistic theatre of poetry and dreams through atmospheric staging and stylized acting".^[25] Upon learning most symbolist theatre, he never wanted to practise any other form. After offset as an role player in the Théâtre Libre and Théâtre d'Fine art, Lugné-Poe grasped on to the symbolist motion and founded the Théâtre de l'Œuvre where he was manager from 1892 until 1929. Some of his greatest successes include opening his own symbolist theatre, producing the first staging of Alfred Jarry's Ubu Roi (1896), and introducing French theatregoers to playwrights such equally Ibsen and Strindberg.^[25]

The subsequently works of the Russian playwright Anton Chekhov take been identified by essayist Paul Schmidt as existence 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 part of the repertoire of the Théâtre de l'Œuvre and the Théâtre d'Art.

Effect [edit]

Black nighttime.
White snow.
The air current, the air current!
It will not let you get. The wind, the wind!
Through God'south whole world it blows

The wind is weaving
The white snow.
Brother water ice peeps from beneath
Stumbling and tumbling
Folk sideslip and fall.
God pity all!

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

Night, street and streetlight, drug store,
The purposeless, half-dim, drab light.
For all the use live on a quarter century –
Naught will change. At that place'southward no way out.

Yous'll die – and first all over, live twice,
Everything repeats itself, merely as it was:
Night, the culvert's rippled icy surface,
The drug store, the street, and streetlight.

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

Among English-speaking artists, the closest counterpart to symbolism was aestheticism. The Pre-Raphaelites were contemporaries of the earlier symbolists, and have much in common with them. Symbolism had a pregnant influence on modernism (Remy de Gourmont considered the Imagists were its descendants)^[28] and its traces can also exist detected in the 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 strong 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'south 1931 study Axel'south Castle focuses on the continuity with symbolism and several of import writers of the early on twentieth century, with a item emphasis on Yeats, Eliot, Paul Valéry, Marcel Proust, James Joyce, and Gertrude Stein. Wilson ended that the symbolists represented a dreaming retreat into

things that are dying–the whole belle-lettristic tradition of Renaissance civilisation perhaps, compelled to specialize more and more, more and more than driven in on itself, as industrialism and democratic instruction have come to press it closer and closer. ^[29]

After the beginning of the 20th century, symbolism had a major effect on Russian poesy even as it became less pop in France. Russian symbolism, steeped in the doctrines of Eastern Orthodoxy and the spiritual ideas of Vladimir Solovyov, had little in mutual with the French style of the same name. It began the careers of several major poets such as Alexander Blok, Andrei Bely, and Marina Tsvetaeva. Bely's novel Petersburg (1912) is considered the greatest example of Russian symbolist prose.

Master influences on the fashion 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 past Nikolai Minsky's article The Ancient Debate (1884) and Dmitry Merezhkovsky's volume On the Causes of the Decline and on the New Trends in Contemporary Russian Literature (1892). Both writers promoted extreme individualism and the act of creation. Merezhkovsky was known for his poetry as well every bit a series of novels on god-men, among whom he counted Christ, Joan of Arc, Dante, Leonardo da Vinci, Napoleon, and (subsequently) Hitler. His wife, Zinaida Gippius, besides a major poet of early symbolism, opened a salon in St Petersburg, which came to exist known as the "headquarters of Russian decadence". Andrei Bely's Petersburg (novel) a portrait of the social strata of the Russian capital, is frequently cited equally a late example of Symbolism in 20th century Russian literature.

In Romania, symbolists directly influenced by French poetry beginning gained influence during the 1880s, when Alexandru Macedonski reunited a group of immature poets associated with his magazine Literatorul. Polemicizing with the established Junimea and overshadowed by the influence of Mihai Eminescu, Romanian symbolism was recovered as an inspiration during and afterwards the 1910s, when information technology was exampled by 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, two movements which descend straight from symbolism proper. The harlequins, paupers, and clowns of Pablo Picasso's "Blue Flow" show the influence of symbolism, and particularly of Puvis de Chavannes. In Belgium, symbolism became so popular that it came to be known as a national style, especially in landscape painting:^[33] the static strangeness of painters like René Magritte can be considered as a direct continuation of symbolism. The piece of work of some symbolist visual artists, such every bit Jan Toorop, directly affected the curvilinear forms of art nouveau.

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

Symbolists [edit]

Precursors [edit]

William Blake (1757–1827) English writer (Songs of Innocence)
Caspar David Friedrich (1774–1840) German language painter (Wanderer to a higher place the Bounding main of Fog)
Alexander Pushkin (1799–1837) Russian poet and writer (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 writer (The Narrative of Arthur Gordon Pym of Nantucket)
Mikhail Lermontov (1814–1841) Russian poet and author (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 language literature [edit]

English linguistic communication 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 Grey (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)
West. B. Yeats (1865–1939)

Symbolist visual artists [edit]

Symbolist playwrights [edit]

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

Composers affected by symbolist ideas [edit]

Gallery [edit]

Run across besides [edit]

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

References [edit]

^ Balakian, Anna, The Symbolist Movement: a critical appraisal. Random House, 1967, ch. 2.
^ Balakian, see higher up; see besides 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 French republic, 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 Modern American Poetry Harcourt Caryatid & Co New York 1950
^ Pratt, William. The Imagist Verse form, Modern Poetry in Miniature (Story Line Press, 1963, expanded 2001). ISBN 1-58654-009-two
^ Olds, Marshal C. "Literary Symbolism", originally published (equally Chapter xiv) in A Companion to Modernist Literature and Culture, edited by 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 ii-221-50161-6
^ Luxure, fruit de mort à l'arbre de la vie... , Albert Samain, "Luxure", in the publication Au jardin de fifty'infante (1889)
^ Stéphane Mallarmé, Les fenêtres Archived 9 December 2004 at the Wayback Auto
^ "What Was the Decadent Movement in Literature? (with pictures)". wiseGEEK.
^ David Schimmelpenninck van der Oye, Russian orientalism: Asia in the Russian heed from Peter the Cracking 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 by Henri Beauclair and Gabriel Vicaire (in French)
^ Jullian Phillipe, The Symbolists, 1977, p. 8
^ "Symbolism – Symbolism And Music". science.jrank.org.
^ Joris–Karl Huysmans, Corrupt novel À rebours, or, Against Nature, Paris, 1891
^ Alan Hollinghurst, "Bruges of sighs" (The Guardian, 29 Jan. 2005, accessed 26 April 2009
^ Saraiva, Lopes, António José, Óscar (2017). História da Literatura Portuguesa (17th ed.). Lisboa: Porto Editora. ISBN978-972-0-30170-three.
^ ^a ^b "Symbolist Movement". Encyclopædia Britannica . Retrieved iii April 2012.
^ The Plays of Anton Chekhov, trans. Paul Schmidt (1997)
^ Blok, Alexander; Yarmolinsky, Avrahm; Deutsch, Babette (1929). "The Twelve". The Slavonic and 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 Culture. Madison, Wisc.: University of Wisconsin Printing. p. 73. ISBN978-0299196042.
^ "Symbolist Visions; The function 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 irresolute Russian literary canon. Open Book Publishers. p. 147. ISBN9781783740888 . Retrieved 12 November 2021.
^ Boris Christa, 'Andrey Bely and the Symbolist Movement in Russia' in The Symbolist Move in the Literature of European Languages John Benjamins Publishing Visitor, 1984, p. 389
^ Philippe Jullian, The Symbolists, 1977, p. 55
^ Jullian, Philippe, The Symbolists. (Dutton, 1977) ISBN 0-7148-1739-2

External links [edit]

Collection of German language Symbolist fine art The Jack Daulton Collection
Les Poètes maudits by Paul Verlaine (in French)
ArtMagick The Symbolist Gallery
What is Symbolism in Art Ten Dreams Galleries – extensive article on Symbolism
Symbolism Archived 19 May 2012 at the Wayback Machine Gustave Moreau, Puvis de Chavannes, Odilon Redon
Literary Symbolism Published in A Companion to Modernist Literature and Culture (2006)

harveyfarriny.blogspot.com

Source: https://en.wikipedia.org/wiki/Symbolism_%28arts%29