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dreams music the imagination
“Blood and the Moon” (1933) Blessed be this place, More blessed still this tower; A bloody, arrogant race Uttering, mastering it, Rose like these walls from these Storm-beaten cottages -In mockery I have set A powerful emblem up, And sing it rhyme upon rhyme In mockery of a time Half dead at the top.
Samuel Palmer’s “The Lonely Tower” (1881)
a rorscach inkblot
Thematic Apperception Test .
All art constantly aspires towards the condition of music . The Renaissance: Studies in Art & Poetry (1877) Walter Pater (English art critic) . for instance . . . of the handling . this mode of handling should become an end in itself. . the mere matter of a poem. should be nothing without the form. the spirit. . . .
1-4) Of music before everything-And for this like the Odd more-Vaguer and more melting in air. Sans rien en luie qui pèse ou qui pose.1-4) translation by Eli Siegel Art poétique (1884) Paul Verlaine (French symbolist poet) . (ll. (ll.De la musique avant toute chose. Without anything in it which weighs or arrests. Et pour cela préfère l’Impair Plus vague et plus soluble dans l’air.
Prelude À L’après-midi D’un Faune (1894) Claude Debussy (French composer) .
The Symbolism of Poetry (February 1900) W. in which the mind liberated from the pressure of the will is unfolded in symbols (Part 3). critic.The purpose of rhythm. by hushing us with an alluring monotony. is to prolong the moment of contemplation. B. Yeats (Irish poet. the moment when we are both asleep and awake. while it holds us waking by variety. to keep us in that state of perhaps real trance. it has always seemed to me. & playwright) . which is the one moment of creation.
call down among us certain disembodied powers. The Symbolism of Poetry (February 1900) W. .All sounds. all forms. B. whose footsteps over our hearts we call emotions (Part 2). critic. & playwright) . evoke indeﬁnable and yet precise emotions . all colours. either because of their preordained energies or because of long association. Yeats (Irish poet. .
(Part 2). that things are wise before they become foolish. as in multiplying mirrors.I doubt indeed if the crude circumstance of the world. critic. The Symbolism of Poetry (February 1900) W. . B. and secret before they cry out in the market-place. for unless we believe that outer things are the reality. does more than reﬂect. which seems to create all our emotions. . the emotions that have come to solitary men in moments of poetical contemplation . & playwright) . we must believe that the gross is the shadow of the subtle. Yeats (Irish poet.
emotional symbol? intellectual symbol? .
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slide #1 detail from “Salome” (1876) Gustave Moreau .
slide #2 “The Wounded Angel” (1888-1893) Hugo Simberg .
slide #3 “The Virgin of the Colombes” (1895) Carlos Schwabe .
slide #4 “The Death of the GraveDigger” (1895-1900) Carlos Schwabe .
“In the Hyacinth Garden” (1900) slide #5 Carlos Schwabe .
slide #6 “The Wave” (1906) Carlos Schwabe .
“The Faun” (1923) slide #7 Carlos Schwabe .
slide #8 “Astarte” (1926) Nicholas Kalmakoff .
slide #9 “Christ of St. John of the Cross” (1951) Salvador Dali .
How can the arts overcome the slow dying of men’s hearts that we call the progress of the world. B. Yeats (Irish poet. without becoming the garment of religion as in old times? (Part 4) The Symbolism of Poetry (February 1900) W. & playwright) . and lay their hands upon men’s heart-strings again. critic.
Yeatsian Symbols a tower the rose birds the moon Trees ﬁsh .