Verlaine : Paul (1844-96), French lyric poet of later 19th cent., who gained notice with his Parnassian poetry, & became a well-known in Bohemian literary circles of Paris.
... 'pure poetry' evokes for most of us some element of spontaneous song. It is this singing quality — perhaps the rarest of all in French poetry — which Verlaine possessed in a supreme degree." Of course, Boase himself points out that the impression Verlaine created of singing with "the simplicity of the bird on the tree" had behind it a sufficient mastery of verbal art, even a conscious virtuosity, but... first set of terms Verlaine employs here are: la Pointe assasine, the murderer Point or intellectual acuteness — l'Esprit cruel, the cruel cleverness or intellectual ironical artifice — le Rire impur, the low laugh or intellecutal levity going against the high seriousness of the poet's mission. The second set of terms are l'Eloquence, resonant rhetoric which, says Verlaine, has to be twisted... second line: Afloat on the crisp dawn-airs that hint...) In this stanza poetry and literature stand as contradictory terms for Verlaine just as poetry and reportage do for Mallarm6. And, since everything except the music defined here is classed as literature, Verlaine seems to put under that category even the musical method of suggestion which the poem advises at the beginning — but the real drift ...
... Mallarmé. Mallarmé was supposed to be the founder of a new trend of poetry—impressionist and symbolist, followed in varying degrees and not by any means in the same way by Verlaine, Rimbaud,—both of them poets of great fame. Verlaine is certainly a great poet and people now say Rimbaud also, but I have never come across his poetry except in extracts—and developing in Valery and other noted writers ... than the surface reality. I don't know if this is the whole theory or only one side or phase of the practice. Baudelaire as a surrealist is a novel idea, nobody ever called him that before. Mallarmé, Verlaine and others used to be classed as impressionist poets: sometimes as symbolists. But now the surrealists seem to claim descent from these poets. 12 February 1937 I really can't tell you what ...
... Well, Mallarme did create certain wonderfully rhythmed lines, but if we wish to have Melopoeia in French we do not particularly go to Mallarme. We go more to Page 248 Verlaine than to him — Verlaine with lines like: Et O les voix d'enfants chantant dans la cupole! (And O the voices of children singing in the cupola!) Expressive rhythm, of course, Mallarme always aimed at ...
... but also gave modern poetry the violent renovation it needed. His successors were the Symbolists - Mallarmé , Rimbaud, Verlaine - who sought to "bury their meaning in a tissue of images and symbols" (Bernard Weinberg). Page 421 If Verlaine was the purest singer of the group and Rimbaud the 'god-struggler' and the laureate of desires, Mallarmé sought to crystallised ...
... more), but these seven put them still in the front rank of poets. He says that "Mallarmé's verse is acquired and intricate" i.e. a thing not of spontaneity, but of intellectualisation. Saying that Verlaine is an inspired poet, he seems to imply the contrary about Mallarmé. If these two magnificent poems (the last two) 4 are not inspired, then there is no such thing as inspiration. It is rubbish... mood, or, inversely, to choose an object as a symbol and disengage from it a mood by a series of decipherments'." [p. 19] It is a very good description of the impressionist method in literature. Verlaine and others do the same, even if they do not hold the theory. I do not understand what Mallarmé means here, but it seems different from what Housman says, that the poet's mission is to transfuse ...
... Mallanne. Mallarmé was supposed to be the founder of a new trend of poetry, impressionist and symbolist, followed in varying degrees and not by any means in the same way by Verlaine and Rimbaud, both of them poets of great fame. Verlaine is certainly a great poet and people now say Rimbaud also, but I have never come across his poetry except in extracts. This strain has developed in Valery and other noted... than the surface reality. I don't know if this is the whole theory or only one side or phase of the practice. Baudelaire as a surrealist is a novel idea, nobody ever called him that before. Mallarmé, Verlaine and others used to be classed as impressionist poets, sometimes as symbolists. But now the surrealists seem to claim descent from these poets. Does surrealism indicate that the meaning should ...
... from France, and Symbolism in the special sense is a mode of poetry consummated first in the France of the closing decades of the nineteenth century. It is associated with the names of Baudelaire, Verlaine, Rimbaud, Mallarme, Valery and some others. But it is not exactly a single mode of poetry. There are varieties of Sym-bolism and not all continue or consummate the Blakean type. Let me give you the... become (if you will permit the expression) musicalized, resonant, and, as it were, harmonically related." On the side of converting Nature into personal mood-symbolism, we may cite the statement of Verlaine who was the most sensitive practitioner of Horizontal Harmony: "The landscape is a state of the soul." (3) Vertical Harmony. This means the presence of the physical universe as an emanation of ...
... Mallarme was supposed to be the founder of a new trend of poetry, impressionist and symbolist, followed in varying degrees and not by any means in the same way by Verlaine, 89 Rimbaud, 90 both of them poets of great fame—Verlaine is certainly a great poet and people now say Rimbaud also, but I have never come across his poetry except in extracts—and dev- eloping in Valery and other noted writers ...
... more), but these seven put them still in the front rank of poets. He says that "Mallarmé's verse is acquired and intricate" i.e. a thing not of spontaneity, but of intellectualisation. Saying that Verlaine is an inspired poet, he seems to mean the contrary about Mallarmé. If these two magnificent sonnets (the last two) 64 are not inspired, then there is no such thing as inspiration. It is rubbish... mood, or, inversely, to choose an object as a symbol and disengage from it a mood by a series of decipherments'." 66 It is a very good description of the impressionist method in literature. Verlaine and others do the same, even if they do not hold the theory. I don't understand what he means, but it seems to be something different from what Housemann means. [Sri Aurobindo put a question ...
... Freedom—24.4.1980 628 From 8th May to 8th August 352 From 8th May to 8th July 332 From 8th May to 8th June 288 From Beatrice in Heaven 197 From Verlaine 592 Fulfilment 468 Fulfilment 594 Full Moon 557 Full Moon 335 Garuda 425 Gautama 12 Giant Wheel 514 ...
... French lyric poet, author of Les fleurs du mal. Paul Valery (1871-1945). Stephane Mallarme (1842-98), French symbolist poet; author of Uapres-midi d'un faune. Paul Verlaine (1844-96), French lyric poet belonging to the Symbolist movement. Arthur Rimbaud (1854-91), French symbolist poet. Dadaists : Post-World War I cultural movement in visual arts ...
... in the work of Rousseau, Chateaubriand, Chénier, Hugo, the intermediate artistic development of most of the main influences by the Parnassians, the like later turn towards the poetry of Mallarmé, Verlaine, D'Annunzio, stigmatised by some as the beginning of a decadence, give us a distinct view of the curve. In English poetry the threads are more confused, the work has on the whole a less clear and ...
... brings us to a point where to go farther we have to go within and to make ourselves a sort of laboratory of new psychological experiment and discovery. This is the turn we get in the poetry of Verlaine which is throughout a straining after an intimate and subtle experience of the senses, vital sensations, emotions pushed beyond ordinary limits into a certain vivid and revealing abnormality, in the ...
... in the emotion of the vital being and the heart. Likewise vitalism stands over against materialism, and idealism or romanticism over against realism and naturalism. Bergson contra Haeckel, Paul Verlaine contra Guy de Maupassant and Théophile Gautier. But it does not mean that we shall arrive at the true universal literature if we solely cling to idealism, the vital being or emotion. True, the vital ...
... visible in the artistic creation, then despite many minor flaws it will look beautiful, great and precious. In fact, we never find vulgarity in the artistic creation of any true artist. Baudelaire, Verlaine, Oscar Wilde – these creators who dived deep into the very core of natural experiences never for once lost the decorum of their inner Being. Vulgarity has no place in their language, in the expression ...
... further diminished in Shelley, Byron and Hugo. Finally, inspiration has become all in all among the modern and the ultra-modern artists including the Symbolists and the Impressionists of whom Paul Verlaine at one time was a leader. It may be said that to a great extent in the East the whole of Sanskrit literature was founded on intuition. In the Vedas, the Upanishads, the Ramayana and even in the ...
... and other poems by reputed poets. Minnie-di once recited a poem most beautifully in her sweet voice. We were all enchanted. Tehmi-ben, in her lovely voice, recited the very well-known poem by Paul Verlaine “ Il pleure dans mon coeur/ Comme il pleut sur la ville ”. The most mischievous of the lot, Amrita-da always brought the shortest poem to recite. His recitation would be over in no time! He would ...
... Shelley as too cultivated and accomplished or too much under foreign influence or to seek for his models in popular songs or the products of the café chantant in preference to Hugo or Musset or Verlaine. Page 161 But perhaps something else is meant—is it that one gets the crude indispensable elements of metre better from primitive just shaped or unshaped stuff than from more perfect work ...
... and appreciated even by that part of the general public which is interested in and appreciative of poetry. Yet there is no one who has had more influence on modern French poets—he helped to create Verlaine, Valery and a number of others who rank among the great ones in French literature and he himself too now ranks very high though he must still, I should think, be read only by a comparatively small ...
... language as developed through the centuries: Hugo at even his best had but sublimated by an imaginative and rhythmic process the spirit of prose. It is with men like Nerval and Baudelaire, Rimbaud and Verlaine, that the French Muse began to emancipate herself from prose, and in Mallarme she exceeded herself by partly becoming non-French. Mallarme was conscious of his own rare accomplishment, his distil-lation ...
... was by nature inclined to write the last type of poetry and it is through his work of this type that he most influenced the French poets who prepared or founded the school of Symbolism — Baudelaire, Verlaine, Rimbaud, Mallarme, Valery. But in the three-stanza'd composition before us we have a complexity of consciousness poised in a catholic inspiration with no special bias towards the Symbolic or Symbolist ...
... makes himself a seer by a long, gigantic and rational derangement of all the senses." The last phrase is somewhat puzzling. Rimbaud's own life was a question mark in spite of his association with Paul Verlaine who had introduced him to the nineteenth century literary circles of Paris. Rimbaud was a "mystical thief of fire" and believed in purification by dissolution. It is acceptable that we must not depend ...
... Impressionism had reached its zenith and was already splitting up into other, no less amazing or disturbing schools of art. In its footsteps followed the literary symbolism of Baudelaire, Rimbaud, Verlaine, Mallarmé and Valéry, now venerated as god-like statues at the gates of all modernist writing. “It may be pure accident or arbitrary selection”, writes Eric Hobsbawm in The Age of Empire 1875-1914 ...
... to ask for advice regarding his sentimental adventures. It was the time of one of the great culminations of European art with the music of Berlioz, Franck, Saint-Saëns, the poetry of Baudelaire, Verlaine, Rimbaud and Mallarmé, the novels of Zola, the operas of Massenet, the recitals of Eugène Ysaÿe, a Belgian violinist of genius, of the bals (dancing halls), the Moulin Rouge and the Grand Guignol ...
... expected or cared to be read and appreciated by the general reading public interested and appreciative of poetry. Yet there is no one who has had more influence on modern French poets—he helped to create Verlaine, Valéry and a number of others who rank among the great ones in French literature and he himself ranks very high though he must still be read only by the comparatively few; yet he has practically ...
... Shelley as too cultivated and accomplished or too much under foreign influence or seek for his models in popular songs or the products of the cafe chantant in preference to Hugo or Musset or Verlaine. But perhaps something else is meant—is it that one gets the crude indispensable elements of metre better from primitive, just-shaped or unshaped stuff than from more perfect work in which these ...
... Baudelaire was followed by Stéphane Mallar-me who was the founder of a new trend of poetry, impressionist and symbolist, himself followed in varying degrees, and not by any means in the same way, by Paul Verlaine and Arthur Rimbaud, both of them poets of great fame. A fresh spirit was abroad. The very atmosphere was surcharged with a revolt against the old classical values —the legacy of the Renaissance ...
... mouse scampers so light Grey in the sooty night.* 9. Dame Souris *Dame souris trotte, Noire dans le gris du soir, Dame souris trotte, Grise dans le noir.* *26.05.1953 Paul Verlaine* 10. The Butterflies *Away into the blue you fly Fiery-winged butterfly ‘Gainst the silver sky you dance Dainty white wings lightly prance. And you, rosy butterfly, You flit ...
... and sweeping constructions on what I write, otherwise it is easy to misunderstand its real significance. I said that there was no reason why poetry of a spiritual character (not any poetry like Verlaine's or Swinburne's or Baudelaire's) should bring no realisation at all . This did not mean that poetry was a major means of realisation of the Divine. I did not say that it would lead us to the Divine ...
... excessive and sweeping constructions on what I write, otherwise it is easy to mi sunders Land its sense. ¦ I said there was no reason why poetry of a spiritual character (not any poetry like Verlaine's or Swinburne's or Baudelaire's) should bring no realisation at all. That did not mean that poetry is a major means of realisation of the Divine. I did not say that it would lead us to the Divine ...
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