Editing Symbolism (movement) (section)

==Effect==
{{Quote box |width=250px |align=right |quoted=true |bgcolor=#FFFFF0 |salign=right
|quote=<poem>
Black night.
White snow.
The wind, the wind!
It will not let you go. The wind, the wind!
Through God's whole world it blows

The wind is weaving
The white snow.
Brother ice peeps from below
Stumbling and tumbling
Folk slip and fall.
God pity all!
</poem>
|source = From "The Twelve" (1918) <br>
Trans.  Babette Deutsch and Avrahm Yarmolinsky<ref>{{Cite journal |jstor = 4202372|title = The Twelve|journal = The Slavonic and East European Review|volume = 8|issue = 22|pages = 188–198|last1 = Blok|first1 = Alexander|last2 = Yarmolinsky|first2 = Avrahm|last3 = Deutsch|first3 = Babette|year = 1929}}</ref>}}
{{Quote box |width=250px |align=right |quoted=true |bgcolor=#FFFFF0 |salign=right
|quote=<poem>
Night, street and streetlight, drug store,
The purposeless, half-dim, drab light.
For all the use live on a quarter century –
Nothing will change.  There's no way out.

You'll die – and start all over, live twice,
Everything repeats itself, just as it was:
Night, the canal's rippled icy surface,
The drug store, the street, and streetlight.
</poem>
|source = "Night, street and streetlight, drugstore..." (1912)
Trans. by Alex Cigale
}}

Among English-speaking artists, the closest counterpart to symbolism was [[aestheticism]]. The [[Pre-Raphaelite]]s were contemporaries of the earlier symbolists, and have much in common with them. Symbolism had a significant influence on [[modernism]] ([[Remy de Gourmont]] considered the [[Imagism|Imagists]] were its descendants)<ref>de Gourmont, Remy. ''La France'' (1915)</ref> and its traces can also be detected in the work of many modernist poets, including [[T. S. Eliot]], [[Wallace Stevens]], [[Conrad Aiken]], [[Hart Crane]], and [[W. B. Yeats]] in the anglophone tradition and [[Rubén Darío]] in Hispanic literature. The early poems of [[Guillaume Apollinaire]] have strong affinities with symbolism. Early Portuguese Modernism was heavily influenced by Symbolist poets, especially [[Camilo Pessanha]]; [[Fernando Pessoa]] had many affinities to Symbolism, such as mysticism, musical versification, subjectivism and transcendentalism.

[[Edmund Wilson]]'s 1931 study ''Axel's Castle'' focuses on the continuity with symbolism and several important writers of the early twentieth century, with a particular emphasis on Yeats, Eliot, [[Paul Valéry]], [[Marcel Proust]], [[James Joyce]], and [[Gertrude Stein]]. Wilson concluded that the symbolists represented a dreaming retreat into
<blockquote>things that are dying–the whole [[belles-lettres|belle-lettristic]] tradition of Renaissance culture perhaps, compelled to specialize more and more, more and more driven in on itself, as industrialism and democratic education have come to press it closer and closer.''<ref>Quoted in {{cite book|last=Brooker|first=Joseph|title=Joyce's Critics: Transitions in Reading and Culture|year=2004|publisher=University of Wisconsin Press|location=Madison, Wisc.|isbn=978-0299196042|pages=73}}</ref></blockquote>

{{Original research section|date=February 2018}}
[[File:Faragó, Géza - The Symbolist (1908).jpg|thumb|{{Ill|Faragó Géza|hu}}, ''The Symbolist'', 1908, satirical piece in [[Art Nouveau]] style]]
After the beginning of the 20th century, symbolism had a major effect on [[Russian literature|Russian poetry]] even as it became less and less popular in France. Russian symbolism originally began as an emulation of the French original, but then, under the influence of [[Vyacheslav Ivanov (poet)|Vyacheslav Ivanov]], it radically diverged until it became something unrecognizable. Steeped in the doctrines of [[Eastern Orthodoxy]] and the Christian mystical philosophy of [[Vladimir Solovyov (philosopher)|Vladimir Solovyov]], it began the careers of several major poets such as [[Alexander Blok]], [[Andrei Bely]], [[Boris Pasternak]], and [[Marina Tsvetaeva]]. Bely's novel ''Petersburg'' (1912) is considered the greatest example of Russian symbolist prose.

Primary influences on the style of [[Russian Symbolism]] were the [[Irrationality|irrationalistic]] and [[mysticism|mystical]] poetry and philosophy of [[Fyodor Tyutchev]] and Solovyov, the novels of [[Fyodor Dostoyevsky]], the operas of [[Richard Wagner]],<ref name="lituanus">{{Cite web|url=http://www.lituanus.org/2003/03_2_04.htm|title=Symbolist Visions; The role of music in the paintings of M. K. Ciurlionis – Nathalie Lorand|website=lituanus.org}}</ref> the philosophy of [[Arthur Schopenhauer]]<ref>{{cite book |last1=Sobolev |first1=Olga |title=The symbol of the symbolists: Aleksandr Blok in the changing Russian literary canon |date=2017 |page=147 |publisher=Open Book Publishers |isbn=9781783740888 |url=http://eprints.lse.ac.uk/85314/ |access-date=12 November 2021}}</ref> and [[Friedrich Nietzsche]],<ref>Boris Christa, 'Andrey Bely and the Symbolist Movement in Russia' in ''The Symbolist Movement in the Literature of European Languages'' John Benjamins Publishing Company, 1984, p. 389</ref> French symbolist and decadent poets (such as [[Stéphane Mallarmé]], [[Paul Verlaine]] and [[Charles Baudelaire]]), and the dramas of [[Henrik Ibsen]].

The style was largely inaugurated by [[Nikolai Minsky]]'s article ''The Ancient Debate'' (1884) and [[Dmitry Merezhkovsky]]'s book ''On the Causes of the Decline and on the New Trends in Contemporary Russian Literature'' (1892). Both writers promoted extreme [[individualism]] and the act of creation. [[Dmitry Merezhkovsky|Merezhkovsky]] was known for his poetry as well as a series of novels on ''god-men'', among whom he counted Christ, [[Joan of Arc]], [[Dante]], [[Leonardo da Vinci]], [[Napoleon]], and (later) [[Hitler]]. His wife, [[Zinaida Gippius]], also a major poet of early symbolism, opened a salon in [[St Petersburg]], which came to be known as the "headquarters of Russian decadence". [[Andrei Bely]]'s [[Petersburg (novel)]] a portrait of the social strata of the Russian capital, is frequently cited as a late example of Symbolism in 20th century Russian literature.

In [[Romania]], symbolists directly influenced by French poetry first gained influence during the 1880s, when [[Alexandru Macedonski]] reunited a group of young poets associated with his magazine ''[[Literatorul]]''. Polemicizing with the established ''[[Junimea]]'' and overshadowed by the influence of [[Mihai Eminescu]], [[Symbolist movement in Romania|Romanian symbolism]] was recovered as an inspiration during and after the 1910s, when it was exampled by the works of [[Tudor Arghezi]], [[Ion Minulescu]], [[George Bacovia]], [[Mateiu Caragiale]], [[Tristan Tzara]] and [[Tudor Vianu]], and praised by the [[Modernism|modernist]] magazine ''[[Sburătorul]]''.

The symbolist painters were an important influence on [[expressionism]] and [[surrealism]] in painting, two movements which descend directly from symbolism proper.  The [[harlequin]]s, paupers, and clowns of [[Pablo Picasso]]'s "[[Picasso's Blue Period|Blue Period]]" show the influence of symbolism, and especially of [[Puvis de Chavannes]].  In Belgium, symbolism became so popular that it came to be known as a national style, particularly in landscape painting:<ref>Philippe Jullian, ''The Symbolists'', 1977, p. 55</ref> the static strangeness of painters like [[René Magritte]] can be considered as a direct continuation of symbolism. The work of some symbolist visual artists, such as [[Jan Toorop]], directly affected the curvilinear forms of [[art nouveau]].

Many early motion pictures also employ symbolist visual imagery and themes in their staging, set designs, and imagery. The films of [[expressionism (film)|German expressionism]] owe a great deal to symbolist imagery. The virginal "good girls" seen in the cinema of [[D. W. Griffith]], and the [[silent film]] "bad girls" portrayed by [[Theda Bara]], both show the continuing influence of symbolism, as do the [[Babylon]]ian scenes from Griffith's ''[[Intolerance (film)|Intolerance]]''. Symbolist imagery lived on longest in [[horror film]]: as late as 1932, [[Carl Theodor Dreyer]]'s ''[[Vampyr]]'' showed the obvious influence of symbolist imagery; parts of the film resemble ''tableau vivant'' re-creations of the early paintings of [[Edvard Munch]].<ref>Jullian, Philippe, ''The Symbolists''. (Dutton, 1977) {{ISBN|0-7148-1739-2}}</ref>