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This science, translated into so many languages, was no doubt intelligible only in broad outline to the masses, and sometimes, when it percolated through the labyrinthine maze of such minds as that of the worthy Bishop of Mende, it appeared overwrought, full of contradictions, and of double meanings. It seems then as if the symbolist were splitting a hair with embroidery scissors.
Soon, very soon, I began to see that he thought me a simpleton; he pooh-poohed my belief in Naturalism and declined to discuss the symbolist question. He curled his long legs upon the rickety sofa and spoke of the British public as the "B.P.," and of the magazine as the "mag," and in the office which I had marked down as my own I saw him installed as a genius.
He was terribly inflated with his success, and was clearly determined to take London by storm. He had been to Oxford, and to Heidelberg, he drank beer and smoked long pipes, he talked of nothing else. Soon, very soon, I grew conscious that he thought me a simpleton; he pooh-poohed my belief in Naturalism and declined to discuss the symbolist question.
Who cares nowadays for the hard-and-fast classifications of idealist, realist, romanticist, psychologist, symbolist, and the rest of the phrases, which are only so much superfluous baggage for literary camp-followers. All great romancers are realists, and the converse may be true. You note it in Dumas and his gorgeous, clattering tales improbable, but told in terms of the real.
When at length the symbolist realizes his own aspirations which seem to him for the most part an altogether new phenomenon in the world and at the same time realizes the wide degree in which they deviate from those of the rest of mankind, his natural secretiveness is still further reinforced. He stands alone.
To the same group belong M. Ranson, who has devoted himself to purely decorative art, tapestry, wall papers and embroideries; M. Georges de Feure, a strange, symbolist water-colour painter, who has become one of the best designers of the New Art in France; M. Félix Vallotton, painter and lithographer, who is somewhat heavy, but gifted with serious qualities.
The foregoing may be regarded as painters of the old school, though every one has so much originality as to be virtually the initiator of a distinct direction. The newer schools are represented by men like J. Toorop, Voerman, Verster, Camerlingh Onnes, Bauer, and Hoytema. Toorop is the well-known symbolist.
It is only natural that, fascinated by this study, the Impressionists have almost remained strangers to the painting of expression, and altogether hostile to historical and symbolist painting. It is therefore principally in landscape painting that they have achieved the greatness that is theirs.
In addition to these, and Dufour, Kahn, De Gourmont and Felix Féneon, we have in English essays by George Moore, Arthur Symons, Philip Hale, the critic of music, and Aline Gorren. Mr. Moore introduced Laforgue in company with Rimbaud to the English reading world and Mr. Symons devoted to him one of his sensitive studies in The Symbolist Movement in Literature. Mr.
He was not a symbolist; he had no love of mystic hints and mist-veiled distances; he was George Herbert's Man who looks on glass And on it rests his eye, because glass was so extremely jolly. Rodney looked with the mystic's eyes on life revealed and emerging behind its symbols; Peter with the artist's on life expressed in the clean and lovely shapes of things, their colours and tangible sweetness.
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