Search results
Results from the WOW.Com Content Network
Paul-Marie Verlaine (/ v ɛər ˈ l ɛ n / vair-LEN; [1] French: [pɔl maʁi vɛʁlɛn]; 30 March 1844 – 8 January 1896) was a French poet associated with the Symbolist movement and the Decadent movement.
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 ...
"Chanson d'automne" ("Autumn Song") is a poem by Paul Verlaine (1844–1896), one of the best known in the French language. It is included in Verlaine's first collection, Poèmes saturniens, published in 1866 (see 1866 in poetry). The poem forms part of the "Paysages tristes" ("Sad landscapes") section of the collection. [1]
The manifesto identifies a few poets as most immediately responsible for developing this current symbolism: Charles Baudelaire, Stéphane Mallarmé, Paul Verlaine, and Theodore de Banville. Symbolism was seen, however as a work in-progress, constantly being refined, including by the efforts of those writers.
Clair de lune" (French for "Moonlight") is a poem written by French poet Paul Verlaine in 1869. It is the inspiration for the third and most famous movement of Claude Debussy's 1890 Suite bergamasque. Debussy also made two settings of the poem for voice and piano accompaniment.
The beginning of this current was in poetry, especially thanks to the impact of The Flowers of Evil by Charles Baudelaire (1868), which powerfully influenced a generation of young poets including Paul Verlaine, Stéphane Mallarmé and Arthur Rimbaud. The term "symbolism" was coined by Jean Moréas in a literary manifesto published in Le Figaro ...
Sagesse (lit. ' Wisdom ') is a volume of French poetry by Paul Verlaine. [1] First published in 1881 (see 1880), it was important in the symbolist and modernist movements, as well as inspiring many musical compositions.
As they refined their craft beyond imitation of Baudelaire and Verlaine, most of these authors became much more clearly aligned with Symbolism than with Decadence. [39] Some visual artists adhered to the Baju-esque late Decadent movement approach to sexuality as purely an act of pleasure, often ensconced in a context of material luxury.