Question

. Who are the chief exponents of Symbolism in France?

• A. artre and Camus
• B. Charles Baudelaire, Arthur Rimbaud, Paul Verlaine, Stéphane Mallarmé, Paul Valéry
• C. Rousseau and Voltaire
• D. Apollinaire and Gide

Answer 1

Answer:

B. Charles Baudelaire, Arthur Rimbaud, Paul Verlaine, Stéphane Mallarmé, Paul Valéry

Understanding French Symbolism and its Exponents

• Symbolism was a late 19th-century art movement of French, Russian and Belgian origin in poetry and other arts. It was a reaction against Realism, Naturalism, and Parnassianism.
• The movement sought to express absolute truths indirectly, through metaphorical and suggestive images and symbols, rather than direct description or explicit narrative.
• It prioritized the internal, subjective world of dreams, visions, and emotions over external reality.
• Key Characteristics of Symbolist Poetry:
  • Suggestion over Description: Poetry aimed to evoke feelings and ideas rather than state them directly.
  • Musicality: Emphasis on the sound and rhythm of words, often leading to the use of `vers libre` (free verse) or unconventional rhyme schemes.
  • Ambiguity and Mysticism: Often dealt with themes of death, decay, artificiality, and the mysterious.
  • Synesthesia: Blending of sensory experiences (e.g., 'a green smell').
  • Use of Symbols: Objects, places, or ideas represented deeper, often elusive, meanings.

Chief Exponents of Symbolism in France:

• Charles Baudelaire (1821-1867):
  • Considered the precursor to Symbolism, rather than a Symbolist himself, but his work deeply influenced the movement.
  • His collection `Les Fleurs du mal` (The Flowers of Evil, 1857) explored themes of `spleen` (melancholy), the urban landscape, and the search for beauty amidst decadence.
  • He was known for his exploration of `correspondences` between the senses, a key concept that prefigured Symbolist synesthesia.
  • His translations of Edgar Allan Poe's works introduced a new aesthetic of psychological depth and the macabre to French literature, which resonated with future Symbolists.
• Arthur Rimbaud (1854-1891):
  • A visionary poet who pushed the boundaries of language and experience.
  • Advocated for the `dérèglement de tous les sens` (derangement of all the senses) as a means to achieve poetic insight.
  • Key works include `Une Saison en Enfer` (A Season in Hell, 1873) and `Illuminations` (published posthumously), which introduced significant prose poetry.
  • His intense, condensed imagery and exploration of the subconscious were highly influential.
• Paul Verlaine (1844-1896):
  • Known for the musicality and fluidity of his verse.
  • His essay `Art Poétique` (Poetic Art, 1884) became a sort of manifesto for Symbolist ideals, emphasizing 'music before all else' and vague suggestions over precise description.
  • His collections like `Romances sans paroles` (Songs without Words, 1874) exemplify his lyrical and melancholic style.
  • He experimented with `impair` (odd number of syllables per line) to create a subtle, elusive rhythm.
• Stéphane Mallarmé (1842-1898):
  • Often seen as the leading figure and theoretician of Symbolism.
  • He believed poetry should evoke the 'essence' of things rather than naming them directly, emphasizing the suggestive power of words and their arrangement on the page.
  • His difficult and highly condensed poetry aimed for absolute purity and often explored the silence and blankness surrounding words.
  • Important works include `L'Après-midi d'un faune` (The Afternoon of a Faun, 1876) and `Un Coup de dés jamais n'abolira le hasard` (A Throw of the Dice Never Will Abolish Chance, 1897).
• Paul Valéry (1871-1945):
  • A later Symbolist poet, deeply influenced by Mallarmé, though he also embraced classical forms.
  • His work is characterized by intellectual rigor, precision, and a focus on the act of creation and consciousness itself.
  • Notable works include `La Jeune Parque` (The Young Fate, 1917) and `Le Cimetière marin` (The Graveyard by the Sea, 1920), which showcase his philosophical depth and command of verse.
  • Valéry's approach often involved a highly self-aware examination of poetic thought and language.