Symbolism

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Nathalia Brodskaya. Symbolism

Introduction: The Manifesto of Symbolism by Jean Moréas

Symbolism

First Scene

Scene II

I. Symbolism in Literature

II. Symbolist Poems

Charles Baudelaire, A Carcass

Charles Baudelaire, Correspondances

Charles Baudelaire, Spleen

René Ghil, In the Times of the Gods

Remy de Gourmont, Hieroglyphs

Joris-Karl Huysmans, Preliminary Sonnet

Alfred Jarry, Bards and Cords

Gustave Kahn, The Cup

Jules Laforgue, Complaint of the Pianos One Hears in Better Neighbourhoods

Maurice Maeterlinck, Foliage of the Heart

Stéphane Mallarmé, Afternoon of A Faun (extract)

Robert de Montesquiou, Hymn to the Night

Jean Moréas, Sensuality

Anna de Noailles, Death said to the Man…

Henri de Régnier, To Stéphane Mallarmé

Arthur Rimbaud, Vowels

Saint-Pol-Roux, The Purifying Rain

Paul Valéry, Hélène

Emile Verhaeren, The Rock (extract)

Paul Verlaine, Poetic Art

Paul Verlaine, Languor

III. Symbolism in Art

Major Artists

Pierre Puvis de Chavannes (Lyon, 1824 – Paris, 1898)

Arnold Böcklin (Basle, 1827 – Zurich, 1901)

Gustave Moreau (Paris, 1828 – Paris, 1898)

Dante Gabriel Rossetti (London, 1828 – Birchington-on-Sea, 1882)

Edward Burne-Jones (Birmingham, 1833 – London, 1898)

Odilon Redon (Bordeaux, 1840 – Paris, 1916)

Eugène Carrière (Gournay-sur-Marne, 1849 – Paris, 1906)

Mikhail Aleksandrovich Vrubel (Omsk, 1856 – St Petersburg, 1910)

Fernand Khnopff (Grembergen-lez-Termonde, 1858 – Brussels, 1921)

Jan Toorop (Purworedjo, 1858 – The Hague, 1928)

Edvard Munch (Løten, 1863 – Ekely, 1944)

Franz von Stuck (Tettenweis, 1863 – Munich, 1928)

Jens Ferdinand Willumsen (Copenhagen, 1863 – Le Canet, 1958)

Maurice Denis (Granville, 1870 – Paris, 1943)

Bibliography

Отрывок из книги

Gustave Moreau, Jupiter and Semele, 1895.

Oil on canvas, 213 × 118 cm.

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THE DETRACTOR. – Horror! Not to respect the alternation of rhymes! You know yourself, Sir, that the Decadents dare to even allow hiatus! Hiatus even!!

THEODORE DE BANVILLE. – Hiatus, the diphthong making a syllable in verse, all other things that were forbidden and especially the optional use of masculine and feminine rhymes have provided to the poet of genius one thousand means of delicate effects, always varied, unexpected, inexhaustible. But to use this scholarly verse, genius and a musical ear were necessary, while with stationary rules the most mediocre writers can – while obeying them faithfully – make, alas! tolerable verses! Who therefore gained anything from the regulation of poetry? Poor poets. Only them!

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