LITMIR.BIZ

      THE SYMBOLIST MOVEMENT

       Table of Contents

      INTRODUCTION

      "It is in and through Symbols that man, consciously or unconsciously, lives, works, and has his being: those ages, moreover, are accounted the noblest which can the best recognise symbolical worth, and prize it highest." Carlyle

      Without symbolism there can be no literature; indeed, not even language. What are words themselves but symbols, almost as arbitrary as the letters which compose them, mere sounds of the voice to which we have agreed to give certain significations, as we have agreed to translate these sounds by those combinations of letters? Symbolism began with the first words uttered by the first man, as he named every living thing; or before them, in heaven, when God named the world into being. And we see, in these beginnings, precisely what Symbolism in literature really is: a form of expression, at the best but approximate, essentially but arbitrary, until it has obtained the force of a convention, for an unseen reality apprehended by the consciousness. It is sometimes permitted to us to hope that our convention is indeed the reflection rather than merely the sign of that unseen reality. We have done much if we have found a recognisable sign.

      "A symbol," says Comte Goblet d'Alviella, in his book on The Migration of Symbols, "might be defined as a representation which does not aim at being a reproduction." Originally, as he points out, used by the Greeks to denote "the two halves of the tablet they divided between themselves as a pledge of hospitality," it came to be used of every sign, formula, or rite by which those initiated in any mystery made themselves secretly known to one another. Gradually the word extended its meaning, until it came to denote every conventional representation of idea by form, of the unseen by the visible. "In a Symbol," says Carlyle, "there is concealment and yet revelation: hence, therefore, by Silence and by Speech acting together, comes a double significance." And, in that fine chapter of Sartor Resartus, he goes further, vindicating for the word its full value: "In the Symbol proper, what we can call a Symbol, there is ever, more or less distinctly and directly, some embodiment and revelation of the Infinite; the Infinite is made to blend itself with the Finite, to stand visible, and as it were, attainable there."

      It is in such a sense as this that the word Symbolism has been used to describe a movement which, during the last generation, has profoundly influenced the course of French literature. All such words, used of anything so living, variable, and irresponsible as literature, are, as symbols themselves must so often be, mere compromises, mere indications. Symbolism, as seen in the writers of our day, would have no value if it were not seen also, under one disguise or another, in every great imaginative writer. What distinguishes the Symbolism of our day from the Symbolism of the past; is that it has now become conscious of itself, in a sense in which it was unconscious even in Gérard de Nerval, to whom I trace the particular origin of the literature which I call Symbolist. The forces which mould the thought of men change, or men's resistance to them slackens; with the change of men's thought comes a change of literature, alike in its inmost essence and in its outward form: after the world has starved its soul long enough in the contemplation and the re-arrangement of material things, comes the turn of the soul; and with it comes the literature of which I write in this volume, a literature in which the visible world is no longer a reality, and the unseen world no longer a dream.

      The great epoch in French literature which preceded this epoch was that of the offshoot of Romanticism which produced Baudelaire, Flaubert, the Goncourts, Taine, Zola, Leconte de Lisle. Taine was the philosopher both of what had gone before him and of what came immediately after; so that he seems to explain at once Flaubert and Zola. It was the age of Science, the age of material things; and words, with that facile elasticity which there is in them, did miracles in the exact representation of everything that visibly existed, exactly as it existed. Even Baudelaire, in whom the spirit is always an uneasy guest at the orgie of life, had a certain theory of Realism which tortures many of his poems into strange, metallic shapes, and fills them with imitative odours, and disturbs them with a too deliberate rhetoric of the flesh? Flaubert, the one impeccable novelist who has ever lived, was resolute to be the novelist of a world in which art, formal art, was the only escape from the burden of reality, and in which the soul was of use mainly as the agent of fine literature. The Goncourts caught at Impressionism to render the fugitive aspects of a world which existed only as a thing of flat spaces, and angles, and coloured movement, in which sun and shadow were the artists; as moods, no less flitting, were the artists of the merely receptive consciousnesses of men and women. Zola has tried to build in brick and mortar inside the covers of a book; he is quite sure that the soul is a nervous fluid, which he is quite sure some man of science is about to catch for us, as a man of science has bottled the air, a pretty, blue liquid. Leconte de Lisle turned the world to stone, but saw, beyond the world, only a pause from misery in a Nirvana never subtilised to the Eastern ecstasy. And, with all these writers, form aimed above all things at being precise, at saying rather than suggesting, at saying what they had to say so completely that nothing remained over, which it might be the business of the reader to divine. And so they have expressed, finally, a certain aspect of the world; and some of them have carried style to a point beyond which the style that says, rather than suggests, cannot go. The whole of that movement comes to a splendid funeral in M. de Heredia's sonnets, in which the literature of form says its last word, and dies.

      Meanwhile, something which is vaguely called Decadence had come into being. That name, rarely used with any precise meaning, was usually either hurled as a reproach or hurled back as a defiance. It pleased some young men in various countries to call themselves Decadents, with all the thrill of unsatisfied virtue masquerading as uncomprehended vice. As a matter of fact, the term is in its place only when applied to style; to that ingenious deformation of the language, in Mallarmé for instance, which can be compared I with what we are accustomed to call the Greek and Latin of the Decadence. No doubt perversity of form and perversity often found together, and, among the lesser men especially, experiment was carried far, not only in the direction of style. But a movement which in this sense might be called Decadent could but have been a straying aside from the main road of literature. Nothing, not even conventional virtue, is so provincial as conventional vice and the desire to "bewilder the middle-classes" is itself middle-class. The interlude, half a mock-interlude, of Decadence, diverted the attention of the critics while something more serious was in preparation. That something more serious has crystallised, for the time, under the form of Symbolism, in which art returns to the one pathway, leading through beautiful things to the eternal beauty.

      In most of the writers whom I have dealt with as summing up in themselves all that is best in Symbolism, it will be noticed that the form is very carefully elaborated, and seems to count for at least as much as in those writers of whose over-possession by form I have complained. Here, however, all this elaboration comes from a very different motive and leads to other ends. There is such a thing as perfecting form that form may be annihilated. All the art of Verlaine

Скачать книгу