Arthur Symons


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Synonyms for Arthur Symons

English poet (1865-1945)

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References in periodicals archive ?
In the suggestive discussion of "mechanical humanity" (242) in some of Eliot's early verse not published in his lifetime, Sherry helpfully draws attention to a poem by Arthur Symons of 1895 because it includes puppets.
The final item in the October Savoy is Arthur Symons's regular "Causerie." This one is "from a Castle in Ireland" (Savoy 93-95).
In a letter Duse implored De Bosis not to forget Wagner's words, which she cited in French: 'L'action qui reve, le reve qui agit' (22) Once Duse told Arthur Symons that she saw in Wagner what she felt in his music, a touch of something, his consciousness of his supremacy, and she relayed on that occasion what Wagner himself liked to say: 'I will do what I want to do, I will force the world to accept me,' and Duse claimed that Wagner succeeded whilst never allowing us to forget his intention.
As well as drawing much-needed further attention to less frequently discussed authors such as Arthur Machen, George Egerton, and Arthur Symons, Freeman's approach has the benefit of placing more canonical figures such as Conrad and T.
Woolf describes Arthur Symons as 'a very distinguished poet', and admires many other individual poets of the time, even if she was capable of recoiling from some of the more outrageous caricatures of the age.
In many respects Machen's self-portrait could double for that of Oscar Wilde, Arthur Symons, and many others whose multi-faceted careers are linked most often with the 1890s.
Eliot once remarked that the apparent purpose of Arthur Symons's Studies of Elizabethan Drama was to "expose" the reader to a "faithful record of the impressions, more numerous or more refined than our own, upon a mind more sensitive than our own." Such, one gathers, is also the purpose of Helen Vendler's Coming of Age of a Poet, a book whose thesis is really just a circular argument meant to display Vendler's sensations.
Surely the most significant Man of Letters to emerge from the ranks of what is generally regarded as the lesser fin-de-siecle crowd was Arthur Symons (1865-1945), whose pioneering, The Symbolist Movement in Literature (1899) was to prove seminal, introducing French Symbolisme to English literary culture, and, incidentally, introducing also the poetry of Laforgue to T.S.
Arthur Symons (1865-1945) came from a remote part of Britain--remote, that is, from the perspective of London or Paris.
These include studies by Annick Le Scoezec-Masson on Spanish writers of the fin de siecle, Miceala Symington on Arthur Symons's use of Salome, and Florence Godeau on Thomas Mann.
Nelson explores the friendships he forged with Beardsley and with poets such as Arthur Symons and Ernest Dowson as he built his publishing list, giving them employment when he established his short-lived but controversial, avant-garde, and influential literary magazine, Savoy.
Screenplay, Desplechin, Emmanuel Bourdieu, based on the story by Arthur Symons. Camera (color), Eric Gautier; editor Herve de Luze; music, Howard Shore; production designer, Jon Henson; costume designer, Nathalie Duerinckx; sound (Dolby Digital), Malcom Davies, Ray Beckett, Jean-Pierre Laforce.
Also elected as new members to serve three-year terms were: Robert Burbaker (chairman, King & Prince Seafood Corp.); Harold Durost (senior vice president operations, potatoes, McCain USA, Inc.); Murray Kessler (general manager, Swanson, Vlasic Foods International); Thomas Ryan (senior vice president and general counsel, Tropicana Products, Inc.); Stanley Schneider (chairman, Agvest, Inc.); Gregory Smith (vice president, manufacturing and distribution, VDK Froz en Foods); Arthur Symons, Jr.