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LITERARY SYMBOLISM
An Introduction
to the
IIN
Interpretation
of Literature
Wadsworth
Guides
"I
'Ii,
SYMBOLISM
\ If 1111mduction
'I.,
Study
Beebe, General
. Editor
Maurice
I I I IrI{ A.RY
to Literary
LETTER
University
HANDBOOK
of Notre Dame
PERPLEX
Bonheim)
University
of
California)
tRVINESULLIVAN
INGRPIM
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WEST GEORGIACOLLEGE
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THE
NATURE
OF SYMBOLISM
THE
BOUNDARIES
OF SYMBOLISM
portance of the sense; to the poet, and to all others; or, if you please,
every man is so far a poet as to be susceptible of these enchantments
of nature; for all men have the thoughts whereof the universe is the
celebration.
I find that the fascination resides in the symbol. Who
loves nature? Who does not? Is it only poets, and men of leisure and
cultivation, who live with her? No; but also hunters, farmers, grooms,
and butchers, though they express their affection in their choice of
life and not in their choice of words. The writer wonders. what the
coachman or the hunter values in riding, in horses and dogs. It is not
superficial qualities. When you talk with him he holds these at as
slight a rate as you. His worship is sympathetic; he has no definitions,
but he is commanded in nature by the living power which he feels to
be there rresent.[15J No imitation or playing of these things would
content him; he loves the earnest of the north wind, of rain, of stone
and wood and iron. A beauty not explicable is dearer than a beauty
which we can see to the end of. It is nature the symbol, nature certifying the supernatural,
body overflowed by life which he worships with
coarse but sincere rites.
The inwardness and mystery of this attachment
drive men of
every class to the use of emblems. The schools of poets and philosophers are not more intoxicated with their symbols than. the populace
with theirs. In our politi<:;a.l parties, compute the power of badges and
emblems. . . . See the power of national emblems. Some stars, lilies,
leopards, a crescent, a lion, an eagle, or other figure which came into
credit God knows how, on an old rag of bunting, blowing in the wind
on a fort at the ends of the earth, shall make the blood tingle under
the rudest or the most conventional
exterior. The people fancy[16]
they hate poetry, and they are all poets and mystics!l17]
ARTHUR
SYMONS
From The Symbolist Movement in Literature.
Revised and enlarged edition. New York:
E. P. Dutton, 1919. Reprinted by permission
of the publisher.
THE
NATURE
OF SYMBOLISM
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 ofll] expression, at the best butapproximate, 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 reflectron rather than merely the sign of that unseen reality. We
have done much if we have found a recognisable sign.
"A symbol," says Camte 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.l2]
JAMES K. FEIBLEMAN
From Aesthetics. New York: Duell, Sloan and
Pearce, 1949. Copyright 1949 by James K.
Feiblema.n. Reprinted by permission of the
publisqer.
It is no accident that the method of a:rt involves symbolism.
For the artist must work with single instances; he can tell only one
story at a time, paint only one picture or sing one song. The story,
the picture or the song, would mean nothing artistically unless it
dragged in its wake a wide penumbra of meaning. Behind every concrete object of art is reflected the shadow of countless absent particulars which it affectively symbolizes. The hold upon us of a character
in fiction, for instance, is its ability to remind us of all those actual
people who are therein described. It is not the particularity of such a
figure but rather its valuati,onal generality which carries the appeal. We
have never met Polonins nor shall we ever meet him: there is no such
person. Yet we meet him every day and he lives for us because we have
met so many dull, busy-body, meddling bores in high places. Needless
10
THE
BOUNDARIES
OF SYMBOLISM
EDMUND
WILSON
The assumptions which underlay Symbolism lead us to formulate some such doctrine as the following: Every feeling or sensation we
have, every moment of consciousness, is different from every other; and
it is, in consequence, impossible to render our sensations as we actually
experience them through the conventional
and universal language of
ordinary literature. Each poet has his unique personality; each ,of his
moments has its special toone, its special combination of elements. And
it is the poet's task to find, to invent, the special language which will
alone be capable of expressing his personality and feelings. Such a
language must make use of symbols: what is so special, so fleeting and
so vague cannot be conveyed by direct statement or description, but
only by a succession of words, of images, which will serve to suggest it
to the reader. The Symbolists themselves, full of the idea of producing
with poetry effects like those of music, tended to think of these images
as possessing an abstract value like musical notes and chords. But the
words of our speech are not musical notation, and what the symbols
of Symbolism really were, were metaphors detached from their subjects
-for one cannot; beyond a certain point, in poetry, merely enjoy color
and sound for their own sake: one has to guess what the images are
being applied to. And Symbolism may be defined as an attempt by
carefully studied means-'a
complicated
association of ideas represented[21J by a medley of metaphors-to
communicate unique personal'
feelings)22J
'
'..
3. DEFINITIONS
AND
TOU~BSTONES
THE
NATURE
OF SYMBOLISM
19
also something more; words like "bed," "joy," "love," indicate that
the described object has a further range of significance which makes
it a symbol. But Blake's rose is not, like the symbolic rose of Dante's
Pamdiso and other medieval poems, an element in a complex set of
traditional religious symbols which were widely known to contemporary readers. Only from the clues in Blake's poem itself, supplemented
by a knowledge of parallel elements in his other poems, do we come to
see that Blake's worm-eaten rose symbolizes such matters as the destruction wrought by furtiveness, deceit, and hypocrisy in what should
be a frank and joyous relationship of physicallove.l96]
M. H. ABRAMS
. From the article "Symbol" in A Glossary of
Literary Terms. New York: Rinehart, 1957.
Reprinted by permission of the author.
A symbol, in the broadest use of the term, is anything which
signifies something else; in this sense, all words are symbols. AJ>commonly used in criticism, however, "symbol" is applied only to a word
or phrase signifying an object which itself has significante; that is, the
object referred to has a range of meaning beyond itself. Some symbols
are "conventional,"
or "public"; thus "the Cross," "the Red, White,
and Blue," "the Good Shepherd" are terms which signify objects of
which the symbolic meanings are widely known. Poets, like all of us,
use these conventional symbols; but some poets also use "private symbols," which are not widely known, or which they develop for themselves (usually by expanding and elaborating pre-existing associations
of an @bject), and these set a more difficult problem in interpretation.
Take as an example the word "rose," which in its literal meaning is a kind of flower. In Burns's line, "0 my love's like a red, red
rose," the word is used as a simile, and in the version "0 my love is a
red, red rose," it is used as a metaphor. William Blake wrote:
0 Rose, thou art sick!,
The invisible worm
That flies in the night,
In the howling storm,
Has found out thy bed
Of crimson joy,
And his dark secret love
Does thy life destroy.
This rose is not the' vehicle for a simile or a metaphor, because it
lacks the paired subject-"my
love," in the examples just cited-which
is[95] characteristic of these figures. . . . Blake's rose is a rose-yet it is
18
THE
NATURE
OF SYMBOLISM
31
D. H. LAWRENCE
From "The Dragon of the Apocalypse" [1930].
In his Selected Literary Criticism) edited by
Anthony Beal. London: William Heinemann,
1955. Copyright 1936 b Frieda Lawr~nce.
Reprinted by permission of The Viking Press,
Inc.
You can't give a great symbol a "meaning," any more than you
can give a cat a "meaning." Symbols are organic units of consciousness
with a life of their own, and you can never explain them away, because
their value is dynamic, emotional, belonging to the sense-consciousness of the body and soul, and not simply mental. An allegorical
image has a meaning. Mr. Facing-both-ways has a meaning. But I defy
you to lay your finger on the full meaning of Janus, who is a
sym bol. [157]
.
It is necessaryfor us to realise very definitely the difference between allegory and symbol. Allegory is a narrative description using,
as a rule, images to express certain definite qualities. Each image means
something, and is a term in the argument and nearly always for a
moral or didactic purpose, for under the narrative of an allegory lies
a didactic argument, usually moral. Myth likewise is descriptive narrative using images. But myth is never an argument, it never has a
didactic nor a moral purpose, you can draw no conclusion from it.
Myth is an attempt to narrate a whole human experience, of which
the purpose is too deep, going too deep in the blood and soul, for
mental explanation or description. We can expound the myth of
Chronos very easily. We can explain it, we c~n even draw the moral
conclusion. But we only look a little silly. The myth of Chronos lives
on beyond explanation, for it describes a profound experience of the
human body and soul, an experience which is never exhausted and
never will be exhausted, for it is being felt and suffered now, and it
will be felt and suffered while man remains man. You may explain the
myths away: but it only means you go on suffering blindly, stupidly,
"in the unconscious," instead of healthily and with the imaginative
comprehension playing upon the suffering. .
And the images of myth are symbols. They don't "mean some.
thing", They stand for units of human feeling, human experience. A
32
DEFINITIONS
AND TOUCHSTONES
JAMES
JOYCE
Re-
-You know what Aquinas says: The three things requisite for
beauty are, integrity, a wholeness, symmetry and radiance. Some day
I will expand that sentence into a treatise. Consider the performance
of your own mind when confronted with any object, hypothetically
beautiful. Your mind to apprehend that object divides the entire universe into two parts, the object, and the void which is not the object.
To apprehend it you must lift it away from everything else: and then
you perceive that it is one integral thing, that is a thing. You recognise
its integrity. Isn't that so?
-And .then?
-That
is the first quality of beauty: it is declared in a simple
sudden synthesis of the faculty which apprehends. What then? Analysis
then. The mind considers the object in whole and in part, in relation
to itself and other objects, examines' the balance of its parts, contemplates the form of the object, traverses every cranny of the structure. So
the mind receives the impression of the symmetry of the structure. The
..
THE
NATURE
OF SYMBOLISM
33
mind recognises that the object is in the strict sense of the word, a thing,
a definitely constituted entity. You see?
[212J
-Now for the third quality. For a long time I couldn't make out
what Aquinas meant. He uses a figurative word (a very unusual thing
for him) but I have solved it. Claritas is quidditas. After the analysis
which discovers the second quality the mind makes the only logically
possible synthesis and discovers the third quality. That is the moment
which I call epiphany. First we recognise that the object is one integral
thing, then we recognise that it is an organised composite structure, a
thing in fact: finally, when the relation of the parts is exquisite, when
the parts are adjusted to the special point, we recognise that it is that
thing which it is. Its soul, its whatness, leaps to us from the vestment
of its appearance. The soul of the commonest object, the structure of
which is so adjusted, seems to us radiant. The object achieves its
epiphany. [213J
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