Symbolist painters

Symbolism was a late 19th-century art movement of French and Belgian origin in poetry and other arts seeking to represent absolute truths symbolically through language and metaphorical images, mainly as a reaction against 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 greatly and translated into French, were a significant influence and the source of many stock tropes and images. The aesthetic was developed by Stéphane Mallarmé and Paul Verlaine during the 1860s and 1870s. In the 1880s, the aesthetic was articulated by a series of manifestos and attracted a generation of writers. The term "symbolist" was first applied by the critic Jean Moréas, who invented the term to distinguish the Symbolists from the related Decadents of literature and of art.

Etymology

The term ''symbolism'' is derived from the word "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 ancient Greece, the ''symbolon'' was a shard of pottery which was inscribed and then broken into two pieces which were given to the ambassadors from two allied city states as a record of the alliance.

Precursors and origins

Symbolism was largely a reaction against naturalism and realism, anti-idealistic styles which were attempts to represent 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. Some writers, such as Joris-Karl Huysmans, began as naturalists before 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, but in their case this was mixed with Byronic romanticism and the world-weariness characteristic of the ''fin de siècle'' period.

The Symbolist poets have a more complex relationship with Parnassianism, a French literary style that immediately preceded it. While being influenced by hermeticism, allowing freer versification, and rejecting Parnassian clarity and objectivity, it retained Parnassianism's love of word play and concern for the musical qualities of verse. The Symbolists continued to admire Théophile Gautier's motto of "art for art's sake", and retained – and modified – Parnassianism's mood of ironic detachment. Many Symbolist poets, including Stéphane Mallarmé and Paul Verlaine, published early works in ''Le Parnasse contemporain'', the poetry anthologies that gave Parnassianism its name. But Arthur Rimbaud publicly mocked prominent Parnassians and published scatological parodies of some of their main authors, including François Coppée – misattributed to Coppée himself – in '' L'Album zutique''.

One of Symbolism's most 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 space for artists embracing spiritualism, mysticism, and idealism in their work. A number of Symbolists were associated with the Salon.

Movement

The Symbolist Manifesto

Jean Moréas published the Symbolist Manifesto ("Le Symbolisme") in ''Le Figaro'' on 18 September 1886 (see 1886 in poetry).Jean Moréas, ''Un Manifeste littéraire'', ''Le Symbolisme'', Le Figaro. Supplément Littéraire, No. 38, Saturday 18 September 1886, p. 150
Bibliothèque nationale de France, Gallica The Symbolist Manifesto names Charles Baudelaire, Stéphane Mallarmé, and Paul Verlaine as the three leading poets of the movement. Moréas announced that symbolism was hostile to "plain meanings, declamations, false sentimentality and matter-of-fact description", and that its goal instead was to "clothe the Ideal in a perceptible form" whose "goal was not in itself, but 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.)

In a nutshell, as Mallarmé writes in a letter to his friend Henri Cazalis, 'to depict not the thing but the effect it produces'.

Techniques

The symbolist poets wished to liberate techniques of versification in order to allow greater room for "fluidity", and as such were sympathetic with the trend 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, though it has also been said that 'Imagism' was the style to which both Pound and Eliot subscribed (see Pound's ''Des Imagistes''). Synesthesia was a prized experience; poets sought to identify and confound the separate senses of scent, sound, and colour. In Baudelaire's poem ''Correspondences'' (which mentions ''forêts de symboles'' ("forests of symbols") and is considered the touchstone of French Symbolism):

:''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, heady, and triumphant,

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

and Rimbaud's poem ''Voyelles'':

:''A noir, E blanc, I rouge, U vert, O bleu : voyelles…''
::(A black, E white, I red, U green, O blue: vowels…)

– both poets seek to identify one sense experience with another. The earlier Romanticism of poetry 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 as a superior network of associations." Symbolist symbols are not allegories, intended to represent; they are instead intended to evoke particular states of mind. The nominal subject 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 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 – will it tear us up with a drunken wingbeat this hard 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 ago remembers that it is he, magnificent but without hope, who breaks free…)

Paul Verlaine and the ''poètes maudits''

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 among the '' poètes maudits'', "accursed poets."

Verlaine argued that in their individual and very different ways, each of these hitherto neglected poets found genius a curse; it isolated them from their contemporaries, and as a result these poets were not at all concerned to avoid hermeticism and idiosyncratic writing styles. They were also portrayed as at odds with society, having tragic lives, and often given to self-destructive tendencies. These traits were not hindrances but consequences of their literary gifts. Verlaine's concept of the ''poète maudit'' in turn borrows from Baudelaire, who opened his collection ''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.

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 art was to provide a temporary refuge from the world of strife of the will.Delvaille, Bernard, ''La poésie symboliste: anthologie'', introduction.

Philosophy

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 result of this desire for an artistic refuge, the symbolists used characteristic themes of mysticism and otherworldliness, a keen 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." Mallarmé's poem ''Les fenêtres'' 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 but then turns away in disgust from

:''… l'homme à l'âme dure
Vautré dans le bonheur, où ses seuls appétits
Mangent, et qui s'entête à chercher cette ordure
Pour 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 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 mon rêve en diadème,
Au ciel antérieur où fleurit la Beauté!''

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

Symbolists and decadents

The symbolist style has frequently been confused with the Decadent movement, the name derived from French literary critics in the 1880s, suggesting the writers were self indulgent and obsessed with taboo subjects. While a few writers embraced the term, most avoided it. Jean Moréas' manifesto was largely a response to this polemic. By the late 1880s, the terms "symbolism" and "decadence" were understood to be almost synonymous. 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. The subject 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 style, as in Verlaine's "''Langueur''":

:''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 great pale barbarians passing by, all the while composing lazy acrostic poems in a gilded style where the languishing sun dances.)

Periodical literature

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 year, Jean Moréas, Gustave Kahn, and Paul Adam began the periodical '' Le Symboliste''. One of the most important symbolist journals was ''Mercure de France'', edited by Alfred Vallette, which succeeded ''La Pléiade''; founded in 1890, this periodical 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, 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 decadent literary styles were satirized by a book of poetry, ''Les Déliquescences d'Adoré Floupette'', published in 1885 by Henri Beauclair and Gabriel Vicaire.

In other media

Visual arts

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 self-consciously morbid and private decadent movement.

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