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Symbolist Movement
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According to the biographical notes found in the famous anthology of Twentieth Century Russian Poetry, which covers Russian Lyrical verse from the Symbolist Movement (1894-1925), Mirra Lokhvitskaya was the daughter of a famous St. Petersburg criminal lawyer. She attended the Moscow Aleksandrian Institute, where early on she attracted attention to her poetic talents. Her first, modest-in-quality, collection of verse was published by the Russian intellectual and aesthetic public; in 1887 she received the coveted Pushkin Prize for poetry for her first major volume of collected verse. She won this prize again in 1905; ... the award was presented posthumously.
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An aesthetic, historical, and theoretical study of four scores, Russian Opera and the Symbolist Movement is a groundbreaking and imaginative treatment of the important yet neglected topic of Russian opera in the Silver Age. Spanning the gap between the supernatural Russian music of the nineteenth century and the compositions of Prokofiev and Stravinsky, this exceptionally insightful and well-researched book explores how Russian symbolist poets interpreted opera and prompted operatic innovation. Simon Morrison shows how these works, though stylistically and technically different, reveal the extent to which the operatic representation of the miraculous can be translated into its enactment.
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Blok, Aleksandr Aleksandrovich (1880-1921), Russian poet, the leader of Russian symbolism, a counterpart of the European literary movement (see Symbolist Movement) strongly influenced by the Eastern Orthodox faith. He was born in Saint Petersburg and educated at Petersburg University.
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Arthur Symons's The Symbolist Movement in Literature, first published in 1899, and with additional material in 1919, is largely credited with bringing French Symbolism to the attention of Anglo-American literary circles. Its first two editions were vital influences on W. B. Yeats and T. S. Eliot--a note that, for nothing else, would assure its historical place with the most important early Modernist criticism. Richard Ellmann has contributed an Introduction to most modern editions.
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The Symbolist movement in France in the 1880s first adopted Wagner's ideas. The Symbolists called for "detheatricalizing" the theatre, meaning stripping away all the technological and scenic encumbrances of the 19th century and replacing them with a spirituality that was to come from the text and the acting. The texts were laden with symbolic imagery not easily construed-rather they were suggestive. The general mood of the plays was slow and dream-like. The intention was to evoke an unconscious response rather than an intellectual one and to depict the nonrational aspects of characters and events. The Symbolist plays of Maurice Maeterlinck of Belgium and Paul Claudel of France, popular in the 1890s and early 20th century, are seldom performed today.
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The Symbolist movement has frequently been confused with Decadence. Several young writers were derisively referred to in the press as "decadent" in the mid 1880s. Jean Moréas' manifesto was largely a response to this polemic. A few of these writers embraced the term while most avoided it. Although the æsthetics of Symbolism and Decadence can be seen as overlapping in some areas, the two remain distinct.
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Symbolist Movement