Word: symbolistes
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...other poem in the issue does not); the texture is close, and while the poem is long, it builds up solidly. Under the primary influence of the later Yeats--in particular, I think, of "The Second Coming"--Mr. Brown has tried for the compression and suggestiveness of symbolist poetry. The difficulties of such a technique are great. In stanza 4 the strained Apollo-Daphne pattern of symbols sticks out like a bad metaphysical conceit; while in stanza 5, the symbols are blurred, which in turn gives the lines an affected air of forced subtlety. But at once Mr. Brown returns...
...congenial subjects for M. Maurois' pen are Lytton Strachey, Aldous Huxley, and Katherine Mansfield. His account of the way in which Strachey "reinstated Cllo among the Muses" is illuminating; and though he is delighted when Strachey in such portraits as "Lady Hester Stanhope" makes history seem "almost like a symbolist poem," he is aware that the truest history is never to be found in such portraits. On the interference of too much scientific knowledge and a too scientific point of view in the fiction of Huxley, M. Maurois is very just. And his analysis and estimate of the work...
...stands in need of appreciation, but never of criticism. This has been sufficient to deter many of the faculty; Sherwood Anderson, most apt among her pupils, stylizes, and Ernest Hemingway, imitates, her. In "Axel's Castle," Mr. Edmund Wilson makes some attempt to isolate her peculiar position in the Symbolist movement; he quotes, he explains a poem. But her personal development glimmers through his words with an agonizing inconstancy that is almost caprice. The spirit of Gertrude Stein has been caught most surely in the plastic arts with which she has so deep an affinity; she comes to us most...
...painting; but in the graphic arts, as a sculptor, and as a talented stage designer. He was born in Malaga in 1881, taking the name of his mother, who taught him the foundations of the painter's art. His earliest paintings, from 1901 to 1907, were of the symbolist school...
...taken seriously. That is his cardinal principle. His play is none of these "-isms"--or all of them, as you wish. You can take them or leave them. We need not then be too much alarmed when Professor Leo Wiener bids us to make no truce with this "symbolist Salomeist harliquin-theatrical Evreinov", the "jumping-jack" that talks like a man. Nor need we be too much bewildered when his biographer, Kamienski, tells us. "Evreinov is a blood race horse of the Steppes unexpectedly tangoing with cows...