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	inspirational poetry: a guide to internet resources
		Poetry is a community – a varied and lively community, with very different views of what poetry is and should be doing.
		Poetry is the workshop of language – where the most original, exciting and significant work is being written.
		Poetry should be inspirational, something akin to magic, and we'd like to hear from readers who've found a new dimension to its study and creation.
	www.poetry-portal.com (401 words)

	Symbolism (arts) - Wikipedia, the free encyclopedia
		Distinct from the Symbolist movement in literature, Symbolism in art represents an outgrowth of the more gothic and darker sides of Romanticism; but where Romanticism was impetuous and rebellious, Symbolist art was static and hieratic.
		The Symbolist manifesto (‘Le Symbolisme’, Le Figaro, 18 Sept 1886) was published in 1886 by Jean Moréas.
		Symbolist poems sought to evoke, rather than to describe; symbolic imagery was used to signify the state of the poet's soul.
	en.wikipedia.org /wiki/Symbolist_painters (2548 words)

	symbolist literature
		Symbolist poets tried to capture sensations and states of mind that lay beyond normal consciousness by disordering their senses, indulging in decadence, occultism, and opposition to sober bourgeois values.
		The wider concerns of the Symbolists – alienation from big business and materialism, the Cartesian split between mind and body, the biological association of thought and feeling – are not only pursued by contemporary writers and poets but by scientists and philosophers.
		Good introductions to Symbolist literature are: The Symbolist Movement (1970) by W.K. Cornell, The Heritage of Symbolism (1943) by C.M. Bowra and The Symbolist Movement in the Literature of European Languages edited by A. Balakian (1982).
	www.poetry-portal.com /styles4.html (317 words)

	TheCriticalPoet - Featured Movement - French Symbolism
		Symbolist artists sought to express the immediate sensations of human experience and the inner life, through the subtle and suggestive use of highly metaphorical language, in the form of symbols.
		The resulting poetry of this philosophy was intense and complex, full of condensed syntax and symbolic imagery.
		Because of their interest in the bizarre and the artificial and in themes of decay and ruin, many of the Symbolist poets were identified with the Decadent movement of the same period.
	thecriticalpoet.tripod.com /symbolism.html (377 words)

	ArtandCulture Movement: Symbolist Poetry (Site not responding. Last check: 2007-10-10)
		Stylistically lyric, fluid, and free form, Symbolist poetry rejected technical convention and literal imagery, focusing on personal, obscure, or esoteric symbols of the soul.
		The Symbolist preoccupation with inner awareness, their webwork of central, suggestive symbols and patterns of images rather than linear narrative, profoundly influenced virtually every major Modernist writer to follow.
		Symbolist influences appear most overtly in the novels of James Joyce, Virginia Woolf, and E. Forster, and in the poetry of W. Yeats, T. Eliot, Rainier Maria Rilke, Paul Valery, and D. Lawrence.
	www.artandculture.com /cgi-bin/WebObjects/ACLive.woa/wa/movement?id=533 (264 words)

	Symbolist Art -- Introduction
		The Symbolist movement was first identified in literature; poets such as Baudelaire, Stéphane Mallarmé and others began writing mysterious and elegantly polished verse shortly after mid-century.
		If there is one central tenet held by Symbolist artists, it is that life is fundamentally mysterious, and the artist must respect and preserve this mystery.(2) Thus they insisted on suggestion rather than explicitness, symbols or equivalents rather than description, in both painting and poetry.
		Many Symbolist artists and writers of the late nineteenth century sought an antidote to the excesses of materialism and positivism in mysticism or occult philosophy.
	www.bc.edu /bc_org/avp/cas/fnart/symbolist/symbolist_intro.html (1002 words)

	Russian Opera and the Symbolist Movement: INTRODUCTION
		With regard to the overall structure of Wagner's scores, the Symbolists dwelled on the deployment of the leitmotif as a mnemonic device and the depiction of events on multiple dramatic planes.
		In his opera, the outwardly self-assured hero Ruprecht stumbles from confusion to confusion, the occult practitioner Agrippa of Nettesheim is exposed as a pretender, and the heroine Renata waits in vain for a superhuman entity to liberate her from the confines of a subhuman reality.
		Renata's vocal lines are locked into elaborate ostinato passages that, on one hand, seem to mimic the broken sequences, obsessive litanies, and repetitive rhythms of Symbolist poetry (as well as Igor Stravinsky's neoprimitivist music) but, on the other, confine her to a pattern of recurring nightmares from which no escape is possible.
	www.ucpress.edu /books/pages/9385/9385.intro.html (11986 words)

	A soundscape of contemporary Hungarian poetry Visible Language - Find Articles
		This conception is materialized, in a way, in the vocal practice of futurist declamation and dadaist lautgedichte, and all the history of twentieth century poetic experimentation shows somehow the functionalization of musical parameters inherent in language, which earlier were neglected and taken as accidental or as less than secondary factors of linguistic expression.
		Dada's sound poetry eliminates the nearly obligatory semantic automatism in poetic communication, and focuses on the phoneme and letter as basic elements of the language of poetry.
		So modern sound poetry was born organically in a total space of creativity characterized by the simultaneous presence of linguistic, vocal-sonoric, gestural and actional elements.
	www.findarticles.com /p/articles/mi_qa3982/is_200101/ai_n8942624 (847 words)

	[No title]
		It is easy to understand why a young aspiring poet would want to imitate these glamorous bohemian figures, but their ultimate effect on his poetry is perhaps less profound than he claimed.
		The painting was not well-known until the mid-19th century, when artists of the emerging Symbolist movement began to appreciate it, and associated it with their ideas about feminine mystique.
		Critic Walter Pater in his 1867 essay on Leonardo, expressed this view of the painting by describing the figure in the painting as a kind of mythic embodiment of eternal femininity, who is "older than the rocks among which she sits" and who "has been dead many times and learned the secrets of the grave".
	www.lycos.com /info/symbolist-movement--miscellaneous.html (640 words)

	Charles Baudelaire and French Nineteenth Century Poetry
		He distrusted the Romantic's practice of spontaneity, and indeed their faith in the innate goodness of man and nature, but thickened the texture of his work with dreams, myths and symbolism and imposed a stern discipline of verse perfection.
		Poetry had to have an element of strangeness, even horror, which was not contrived: all imaginings should be accompanied by sensory recall: a view that developed into Symbolism, with its correspondences between the visible and non-visible.
		Baudelaire's poetry explored symbols selected for their tendency to evoke one sensory experience through another, so elevating experience to the level of intellect.
	www.poetrymagic.co.uk /poets/baudelaire.html (827 words)

	Poetic Modes: Symbolism, Imagism, Modernism
		Symbolism was the poetry of disgusted and sometimes disillusioned idealists, who sought in poetry an escape from the ugliness, hypocrisy, and rapacity of 19th century industrialized society.
		Their poetry was not as rigorously conceived as that of the symbolists in France, but it was thought to be just as removed from the actualities of daily life.
		Poetry would be "purified," approaching the abstract condition of music: "Poetry, accompanied by the Idea, is perfect Music, and cannot be anything else" (Mallarmé 83).
	faculty.gvsu.edu /websterm/Poetic_Modes.htm (3296 words)

	Baudelaire and Symbolist Poetry (Site not responding. Last check: 2007-10-10)
		Symbolist poets like Stéphane Mallarmé and Paul Verlaine took the view that a poem was a self-expressive gesture - self-sufficient and self-justifying.
		Poets should cultivate the `music' of poetry - the delicate harmonies and subtle dissonances and assonances of vowels and of consonants.
		The second idea is that poetry should have the power to evoke complex states of feeling in much the same way as music.
	www.sunderland.ac.uk /~os0tmc/chemin/symbol.htm (251 words)

	Who invented spoken word poetry - PointAsk Question (Site not responding. Last check: 2007-10-10)
		Romantic poetry is said to have begun in 1798 with the publication of Lyrical Ballads, a collection of poems by the English poets William Wordsworth and Samuel Taylor Coleridge.
		Symbolist poets used images, symbols, and the musical quality in words to suggest a connection between the visible and invisible worlds.
		Poetry slams were invented in Chicago in the 1980's to lure people into bars and cafes to listen to poetry.
	www.pointask.com /pointask/f_q.php3?qid=35135 (2608 words)

	Christopher English Resource for symbolist Art and poetry links
		The romantic conception of poetry, to which the theses are related, neither relies on the Lockean view nor does it succumb to the Wittgensteinian view.
		Painting and Poetry The analogy of poetry to painting is at least as old as Plato and Simonides.
		Symbolist poetry There are no general introductions or pages dedicated to symbolism, so pages of individual poets will have to suffice.
	easyweb.easynet.co.uk /~c.english/favourites.html (2084 words)

	symbolists and symbolist poetry (Site not responding. Last check: 2007-10-10)
		But Symbolist poetry was not empty of content, indeed expressed matters of great interest to continental philosophers, then and now.
		By a sort of belated Romanticism, poetry was returned to the exploration of the inner lands of the irrational.
		The Symbolist movement gave Rilke a language for the as-yet unsayable, and his verse mastery shaped it to a persuasive view.
	www.textetc.com /aspects/a-symbolism.html (4940 words)

	French Symbolist Poetry, Bilingual edition
		Any attempt to define the Symbolist movement and its influence inevitably loses itself in a welter of detail.
		Whether viewed as influence or in and for themselves, the Symbolist are a tantalizing group.
		Paralleling similar movements in art and music, their intensely personal poetry leans more heavily on oblique suggestions and evocation than on overt statement.
	www.ucpress.edu /books/pages/1057.html (202 words)

	TWENTIETH CENTURY LITERATURE
		Thereby, the attention of the critic and the reader, and the poet himself, slowly moved toward the writing of poetry as a specific artistic creation, which would have far-reaching consequences not only for interpreting and evaluating poetry, rather - and this is of utmost significance - for its development in the two decades to come.
		Yet, this poetry is not static, as it was with the parnassians; it was rather developed in finely constructed nuances.
		He was inclined to the revival of abstract poetry, which he presents as a combination of poetic forms which generate symbols and ideas which connect dialectic extremes: fire and ashes, being and nothingness, life and death.
	suc.suc.org /culture/history/Hist_Serb_Culture/chr/New_Literature.html (8775 words)

	On Sadakichi Hartmann's Poetry
		Hartmann's poetry too was touched by the symbolist influence.
		The 1898 edition of "Naked Ghosts" is filled with Hartmann's mannered version of symbolist language, as in the poem beginning, "Cyanogen seas are surging on/fierce cinnabarine strands, where/white amazons are marching/through the radiance of the sands." And there is more of the same in a much altered unpublished edition of "Naked Ghosts" dated 1903.
		Some of the verses were original and some were adaptations from the Japanese; the 1933 edition, for example, includes Hartmann's versions of the well-known haiku by Basho about the temple bells, the crow on a withered branch, and the frog jumping into a pond.
	www.english.uiuc.edu /maps/poets/g_l/hartmann/poetry.htm (781 words)

	Three Text of Jurgis Baltrusaitis
		The three collections of the poet belong to a gigantic text, which is called Russian symbolist poetry (and to Russian poetry in general); the other four books of poetry belong to the text of Lithuanian symbolist poetry (and to Lithuanian poetry in general).
		The plane of expression and the plane of content, as some researchers have already noted,19 do not intersect in symbolist poems; they separate and veer "beyond language": the plane of expression gravitates in the direction of music, while the plane of content towards abstractions, or "pure constructions of thought".
		Of all the Russian symbolists (if we stick to the acknowledged masters and not to their derivatives) Baltrušaitis is the one who least avoids cliches and traditional idiom, he is the most "redundant" and the most faithful to "the aesthetics of identity" (in Lotman's terminology).
	www.lituanus.org /1989/89_3_05.htm (4398 words)

	Symbolism
		This new poetry, known as Symbolism, emerged from a group of iconoclastic writers who challenged the provincial norms of French writing.
		The expression and feeling that was put into symbolist poetry was far more important than a strict use of grammar.
		He often referenced nature in his poetry, which he depicted in a rather negative manner.
	gallery.sjsu.edu /paris/symbolism/poetry.html (499 words)

	CVCCollage
		Where a symbolist poet would concentrate on relations that dramatize meanings beyond the event, the poet in "Western Wynd" wants to make relational forces intensify "the detail, not mirage, of seeing." To do so articulates a field where one can think with things as they exist.
		In order to keep the denotations intensely resonant, the poet marks his or her field --perceptually and musically--by a dense interplay of direct perceptions standing toward one another as planes in a abstract painting.
		The poetry is in the parallels between forms of desire and energy held together in a perceptual space.
	mason.gmu.edu /~stichy/CVCCollage.html (1023 words)

	H-France Reviews (Site not responding. Last check: 2007-10-10)
		In Genova’s words, the purpose of the book is to study “the phenomenon of the Symbolist literary journal itself, exploring the significance of an unusual forum for intellectual cultural activity during a particularly fertile aesthetic period” (p.
		The Symbolists embraced contemporary currents in music theory and expression, founded upon both their own sense of la musicalité of free verse poetry and critical insights provided by Baudelaire into synesthetic correspondances between the arts.
		Genova follows debates among Symbolists across various journals but neglects the business of their actual production and distribution (along the lines of the social diffusion of ideas, as Robert Darnton has done for the Enlightenment in terms of the eighteenth-century press).
	www.h-france.net /reviews/walz4.html (1560 words)

	TheCriticalPoet - Interactive poetry site. Contests and Forum.
		Material from authors not normally associated with the Beat movement is included as well as work from Beat figures' wives and girlfriends who were writers in their own right.
		Kenner's study...is not so much a book as a library, or better, a new kind of book in which biography, history, and the analysis of literature are so harmoniously articulated that every page has a narrative sense...
		What emerges is a panoramic view of a generation of artists struggling to remake the world in their own image--and miraculously succeeding.
	thecriticalpoet.tripod.com /bookshop4.html (412 words)

	Yuliya Ilchuk, University of Southern California (Site not responding. Last check: 2007-10-10)
		Indeed, Symbolist literary mystifications undermined the Romantic ideology of authorship and its cult of a genius, prophetic poet.
		The Symbolists’ mystifications revealed both the author’s desire to speak in different voices and the belief that under the “self” an authentic other exits which must to be released from the burden of its mask.
		The Symbolist fascination with the “mask,” other self, or double can be treated as a consistent modernist tendency that sought to dissolve the literary subject into the objective world.
	aatseel.org /program/aatseel/2003/abstracts/Ilchuk.htm (467 words)

	Writing the symbolist poem (Site not responding. Last check: 2007-10-10)
		Poetry grows out of a similar interaction between observing and understanding.
		Reading poetry by the celebrated masters of Symbolism, in their original French, German and Spanish originals and in translation.
		That was a way of writing poetry common to the late nineteenth century.
	www.textetc.com /workshop/wc-symbolist-poem-1.html (2463 words)

	abstract nouns in poetry:
		Owing to the underlying cognitive mechanisms, this kind of poetry may be called poetry of orientation (chapter 11 will discuss, by contrast, what may be called poetry of disorientation).
		Not infrequently, however, poetry is processed in relation to the "integration of diffuse input, such as orienting oneself in space", resulting in some vague, elusive, emotionally loaded atmosphere perceived in a concrete landscape.
		An obviousand not uncommonway to handle the problem is to discuss the old allegories of our fathers and 19th century symbolist poetry on separate occasions, applying to each one the relevant theoretical framework, without questioning its applicability.
	www.tau.ac.il /~tsurxx/Nouns_3.0.html (8935 words)

	2000-2
		It is definitely of decisive importance for the fate of Kosovel’s poetry that efforts for his recognition did not end after the first success and have continued to the present.
		In addition, the article deals with so-called sensual unreality (typical of Rimbaud’s poetry) and pure poetry (typical of Mallarmé’s poetry) and establishes how and why the symbolist poetry, which at first made an attempt to put into words numinous objects, was transformed into a radical reflection on the nature of human realisation and utterance.
		The basic thesis of this article is that it was the specific language of poetry, as developed by the symbolist poets, which enabled this poetry to become a privileged means of expressing modern religious (or numinous, to be more precise) experience.
	www.zrc-sazu.si /sdpk/PKrevija/2000-2.htm (2324 words)

	New York University \| Bobst Library: Microform Collections -- Fin-de-Siècle Symbolist and Avant-Garde Periodicals
		During its brief life, it served as the crossroads for a wide variety of French literary and political currents, though the Symbolist influence was strongest.
		Though this journal formally preceded the Symbolist movement, its pages were an outlet for early Mallarmé as well as for pre- and proto-Symbolist poets such as Baudelaire, Dierx, Hérédia, and Leconte de Lisle.
		The Symbolists were especially interested in Wagner's attempt to synthesize music and poetic drama and they contributed eagerly to the pages of the Revue.
	library.nyu.edu /research/french/symbolism.html (1643 words)

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