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Updated: September 21, 2025
"As to the virtues antithetical to these vices, humility may be typified by the ox and the ass; indifference to worldly possessions by the pelican, the emblem of the contemplative life; chastity by the dove and the elephant, though it is true that this interpretation of Peter of Capua is contradicted by other mystics, who accuse the elephant of pride, and speak of him as an 'enormous sinner'; charity by the lark and the pelican; temperance by the camel, which, taken in another sense, typifies under the name of gamal extravagant fury; vigilance by the lion, the peacock, the ant quoted by the Abbess Herrade and the Anonymous monk of Clairvaux and especially by the cock, to which Saint Eucher attributes this virtue in common with all other symbolists.
Ah! but we must have a cross over the altar." "That will not be difficult," replied the Abbé Gévresin. "From the grain of mustard seed, which all the symbolists accept in a figurative sense as representing Christ, to the sycamore and the terebinth, you have a wide range; you can at pleasure have a tiny cross, a mere nothing, or a gigantic crucifix."
"Very true," replied the Abbé Plomb. "But what is most curious is the number of absolutely dissimilar senses which the oldest symbolists attribute to the buckthorn. Saint Methodus uses it for virginity; Theodoret for sin; Saint Jerome ascribes it to the devil; and Saint Bernard takes it as symbolizing humility.
"Above all," remarked Durtal, "if we did not restrict ourselves to the narrow limits of this poem, for Conrad's manual is brief, and his dictionary of analogies small; if we accepted the interpretations of other symbolists, we could produce a ring similar to his and yet quite different, for the language of the gems would not be the same. Thus to St.
It would be easy to show by the history of literature and the fine arts that the vague forms have been preferred according to peoples, times, and places. Let us limit ourselves to a single contemporary example that is complete and systematically created the art of the "symbolists."
The other Symbolists produced nothing of the same calibre, and they failed to attract the public. The bestsellers of the period after 1905 were, naturally enough, hybrid writers like Andreyev.
Corliss, having terminated a buzz with a Miss Mortimer on the decadence of the French symbolists, encountered Del Bishop. But the pocket-miner remembered him at once from the one glimpse he had caught of Corliss standing by his tent-door in Happy Camp.
Towards this new school of symbolists and affectationists Ruskin was not at first drawn, since it seemed to him unduly idealistic, if not mystic, and smacked not a little, as he thought, of popery.
After the hard-won victories of Impressionism there was bound to ensue a reaction. The symbolists crowded out the realists in literature and the Neo-Impressionists felt the call of Form as opposed to Colour. Well, we are getting form with a vengeance, and seldom has colour been so flouted in favour of cubes, cylinders, and wooden studio models and muddy paste.
Roughly speaking, these new schools the symbolists, the decadents, the dividers of tones, the professors of the rhythm of gesture date back about ten years. For ten years the division of the tones has been the subject of discussion in the aesthetic circles of Montmartre.
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