Plan: chapter I. Life and work

Introduction
Plan:
CHAPTER I. Life and work of American writers about novels
1.1.Representative author, Advocacy case
1.2.Contentm
ent to the media,
about hobbits and robots
CHAPTERII. The proliferation of today’s fantasy genres is a necessity for them
2.1 Strange Lands and Machines, Various Drawings
2.2 Comparing Current Contradictions, Critical Comments, and Criticisms. most important


Conclusion
References

Ministry of Higher and Secondary Special Education of the Republic of Uzbekistan Samarkand State

Institute of Foreign Languages English II-Faculty of English Language and Literature 317- group student English
COURSE WORK

COMPLETED______ Sayfiddinov S

INSPECTED ____

1.Introduction

Symbolism is the first manifestation of modernism, appeared as a poetical deviation from romanticism. The metaphysical justification consolidates a genuine religion of art, which is manifested by aestheticism, by the cult of artificiality. Thus, the poem becomes the prototype of art in symbolism. Psychically, symbolism is seen as a state of crisis. For many symbolists, sensitivity means a taste of the bizarre, anxiety, decadence, apathy, lifelessness, disorder of senses.For symbolistic poetry, it is also the relationship with time which is important, mainly the historical time, as symbolism is in relation to the end of the nineteenth century atmosphere. It is interesting to observe that symbolists polemize with the myth of progress, rediscover ancient mythologies, invoke the world of timeless ideas and at the same time, they live the idea of modernism.

Definitions of Symbolism
“Symbolistic poetry is based on the revelations of the subconscious, on the deepening in the dream and on the crepuscular psychic states. Symbolism rejects the direct expression and the accurate description and at the same time, it wants to exclude pathos and eloquence from poetry” (Philippide, 1966: 164). “Symbolism is the deepening of lyricism in the subconscious, by expressing the musical background of the human soul by means of suggestion” (Lovinescu, 1973: 550).Symbolism is based on the theory of symbols and sensorial correspondences; it cultivates more refined sensitivity and emotions; it creates the blank verse; it is characterized by inner musicality, by the musical perception of the world; it relies on the force of suggestion; it cultivates solitude, without enthusiasm (as romanticists do) but discreetly and silently; it cultivates mysticism and intimacy, neuroses and mystery; the preference for autumnal settings and landscapes (rainy, foggy, with ravens in the light); there comes the poetry of towns, either large or provincial fairs: sad, melancholic, annihilating, overwhelmed by spleen, there comes the conscience of the void and internal confusion, of moral isolation, of the artist’s damnation in society; it paves the way for groups and proper modernist trends.” (Mihuţ, 1976: 87).

Symbolism was a late 19th-century art movement of French, Russian and Belgian origin in poetry and other arts seeking to represent absolute truths symbolically through language and metaphorical images, mainly as a reaction against naturalism and realism.In literature, the style originates with the 1857 publication of Charles Baudelaire's Les Fleurs du mal. The works of Edgar Allan Poe, which Baudelaire admired greatly and translated into French, were a significant influence and the source of many stock tropes and images. The aesthetic was developed by Stéphane Mallarmé and Paul Verlaine during the 1860s and 1870s. In the 1880s, the aesthetic was articulated by a series of manifestos and attracted a generation of writers. The term "symbolist" was first applied by the critic Jean Moréas, who invented the term to distinguish the Symbolists from the related Decadents of literature and of art.The term symbolism is derived from the word "symbol" which derives from the Latin symbolum, a symbol of faith, and symbolus, a sign of recognition, in turn from classical Greek σύμβολον symbolon, an object cut in half constituting a sign of recognition when the carriers were able to reassemble the two-halves. In ancient Greece, the symbolon was a shard of pottery which was inscribed and then broken into two pieces which were given to the ambassadors from two allied city states as a record of the allianceSymbolism was largely a reaction against naturalism and realism, anti-idealistic styles which were attempts to represent reality in its gritty particularity, and to elevate the humble and the ordinary over the ideal. Symbolism was a reaction in favour of spirituality, the imagination, and dreams.[1] Some writers, such as Joris-Karl Huysmans, began as naturalists before becoming symbolists; for Huysmans, this change represented his increasing interest in religion and spirituality. Certain of the characteristic subjects of the Decadents represent naturalist interest in sexuality and taboo topics, but in their case this was mixed with Byronic romanticism and the world-weariness characteristic of the fin de siècle period.

The Symbolist poets have a more complex relationship with Parnassianism, a French literary style that immediately preceded it. While being influenced by hermeticism, allowing freer versification, and rejecting Parnassian clarity and objectivity, it retained Parnassianism's love of word play and concern for the musical qualities of verse. The Symbolists continued to admire Théophile Gautier's motto of "art for art's sake", and retained – and modified – Parnassianism's mood of ironic detachment.[2] Many Symbolist poets, including Stéphane Mallarmé and Paul Verlaine, published early works in Le Parnasse contemporain, the poetry anthologies that gave Parnassianism its name. But Arthur Rimbaud publicly mocked prominent Parnassians and published scatological parodies of some of their main authors, including François Coppée – misattributed to Coppée himself – in L'Album zutique.[3]

One of Symbolism's most colourful promoters in Paris was art and literary critic (and occultist) Joséphin Péladan, who established the Salon de la Rose + Croix. The Salon hosted a series of six presentations of avant-garde art, writing and music during the 1890s, to give a presentation space for artists embracing spiritualism, mysticism, and idealism in their work. A number of Symbolists were associated with the Salon.Jean Moréas published the Symbolist Manifesto ("Le Symbolisme") in Le Figaro on 18 September 1886 (see 1886 in poetry).[4] The Symbolist Manifesto names Charles Baudelaire, Stéphane Mallarmé, and Paul Verlaine as the three leading poets of the movement. Moréas announced that symbolism was hostile to "plain meanings, declamations, false sentimentality and matter-of-fact description", and that its goal instead was to "clothe the Ideal in a perceptible form" whose "goal was not in itself, but whose sole purpose was to express the Ideal."Ainsi, dans cet art, les tableaux de la nature, les actions des humains, tous les phénomènes concrets ne sauraient se manifester eux-mêmes; ce sont là des apparences sensibles destinées à représenter leurs affinités ésotériques avec des Idées primordiales.

(Thus, in this art movement, representations of nature, human activities and all real life events don't stand on their own; they are rather veiled reflections of the senses pointing to archetypal meanings through their esoteric connections.)[4][5]
In a nutshell, as Mallarmé writes in a letter to his friend Henri Cazalis, 'to depict not the thing but the effect it produces'.[6]The symbolist poets wished to liberate techniques of versification in order to allow greater room for "fluidity", and as such were sympathetic with the trend toward free verse, as evident in the poems of Gustave Kahn and Ezra Pound. Symbolist poems were attempts to evoke, rather than primarily to describe; symbolic imagery was used to signify the state of the poet's soul. T. S. Eliot was influenced by the poets Jules Laforgue, Paul Valéry and Arthur Rimbaud who used the techniques of the Symbolist school,[7] though it has also been said[by whom?] that 'Imagism' was the style to which both Pound and Eliot subscribed (see Pound's Des Imagistes). Synesthesia was a prized experience[citation needed]; poets sought to identify and confound the separate senses of scent, sound, and colour. In Baudelaire's poem Correspondences (which mentions forêts de symboles ("forests of symbols") and is considered the touchstone of French Symbolism):[8]

Il est des parfums frais comme des chairs d'enfants,

Doux comme les hautbois, verts comme les prairies,
– Et d'autres, corrompus, riches et triomphants,

Ayant l'expansion des choses infinies,

Comme l'ambre, le musc, le benjoin et l'encens,
Qui chantent les transports de l'esprit et des sens.
(There are smells that are fresh like children's skin,
calm like oboes, green like meadows
– And others, rotten, heady, and triumphant,

having the expansiveness of infinite things,

like amber, musk, benzoin, and incense,
which sing of the raptures of the soul and senses.)
and Rimbaud's poem Voyelles:

A noir, E blanc, I rouge, U vert, O bleu : voyelles…

(A black, E white, I red, U green, O blue: vowels…)
– both poets seek to identify one sense experience with another. The earlier Romanticism of poetry used symbols, but these symbols were unique and privileged objects. The symbolists were more extreme, investing all things, even vowels and perfumes, with potential symbolic value. "The physical universe, then, is a kind of language that invites a privileged spectator to decipher it, although this does not yield a single message so much as a superior network of associations."[9] Symbolist symbols are not allegories, intended to represent; they are instead intended to evoke particular states of mind. The nominal subject of Mallarmé's "Le cygne" ("The Swan") is of a swan trapped in a frozen lake. Significantly, in French, cygne is a homophone of signe, a sign. The overall effect is of overwhelming whiteness; and the presentation of the narrative elements of the description is quite indirect:

Le vierge, le vivace, et le bel aujourd'hui

Va-t-il nous déchirer avec un coup d’aile ivre
Ce lac dur oublié que hante sous le givre
Le transparent glacier des vols qui n’ont pas fui!
Un cygne d’autrefois se souvient que c’est lui
Magnifique mais qui sans espoir se délivre…
(The virgin, lively, and beautiful today – will it tear us up with a drunken wingbeat this hard forgotten lake that lurks beneath the frost, the transparent glacier of flights not taken with a blow froma drunken wing? A swan of long ago remembers that it is he, magnificent but without hope, who breaks free…)