France

Fin-de-siècle French decadence is one expression of the partial autonomy from political power in literature and the arts, both of which established their own frames of reference and legitimation. This article retraces the history of decadence in France in the 1880s. Envisaging decadence as both an infamous appellation and a literary movement embedded within a specific ecosystem of little magazines, it presents canonical works such as Huysmans’s À rebours and the poetry of Paul Verlaine and Stéphane Mallarmé, and explores some notable little magazines where decadent writings first appeared, paying attention to some of the quarrels that led to the emergence of symbolism and instrumentism originating from decadent works in the late 1880s. Literary decadence helped shape the little magazines of the 1890s while also heralding modern poetry.

Paul Verlaine in Parallel: Loeffler, Fauré, Debussy

The contrasts between song settings of Verlaine’s poetry by Fauré, Debussy, and Hahn have long attracted comparative essays from scholars and singers. The songs of the American composer Charles Martin Loeffler offer yet another Verlaine. His settings of ‘La lune blanche’ and ‘En sourdine’ are particularly puzzling when heard after Fauré’s songs on the same poems. This essay seeks to make sense of some of Loeffler’s most idiosyncratic settings and show them as competent and as sensitive in their way as the more famous settings of Fauré and Debussy. I argue that Loeffler draws on the habits of ironic theatricality he would have observed in the cabarets and cafés-chantants he enjoyed frequenting in Paris. He applies the effects of popular urban song to Verlaine’s lyric and in this way is able to move very independently from Fauré or Debussy even as he raises a popular form to a high artistic level. In this context, Fauré and Debussy appear more similar than different, but we may array the three composers in a metaphorical geography moving from the countryside to the heart of the city: Fauré the pastoral, Debussy the suburban, and Loeffler the urban.

Rivals in Symbolism

The article examines the reception of Western European modernism in Russia in the late 19 th — early 20th centuries, with the emphasis on the phenomenon of the “crooked mirror” of a different nation perception, which not only endows the work of a foreign author with new functions, but sometimes also gives it a new scale (as with Byron, Zola, some of whose novels were published in Russian translation earlier than in the original in France, the Parnassian poet Jose Maria de Heredia, who received real fame in Russia, in contrast to the very short recognition in his homeland). The subject of the analysis is the texts that are maximally indicative and convincing for the stated topic, above all the translations from Paul Verlaine by Fyodor Sologub, who, along with Bryusov, opened the French poet to the Russian reader, and his original poems, created in the course of and largely as a result of work on translations. The systematization of observations on specific texts makes it possible to conclude that Russian Symbolists, adhering to sometimes opposite views on art, relying on the authority of Baudelaire and Verlaine who are perceived in France more as predecessors of Symbolism than its representatives, walked alongside them, never meeting along the way, but recognizing the “other” as “equal”.

«…LITERALLY, TO RECREATE IN ANOTHER LANGUAGE»: CONCERNING THE SPECIFICS OF THE TRANSLATION STYLE OF FYODOR SOLOGUB

The article considers the specifi c features of the translation style of the greatest symbolist poet Fyodor Sologub (1863–1927), who was one of the best translators of the French Modernists, primarily Paul Verlaine, into Russian. The analysis of various versions of the translation of Verlaine’s poem «Bruxelles. Simples Fresques. I» demonstrates how Sologub was searching for the best way to render the rhythm, phonics, vocabulary, fi gurative structure of the original, achieving «accuracy» in the rendition of a particular level of the text, yet sometimes failing to preserve its main semantic dominant.

Darío, Nordau, Verlaine: génesis y estructura de "Los Raros"

Tanto la génesis como la estructura de Los Raros de Rubén Darío se aprecian mejor si se tiene presente que el poeta redactó los diversos artículos que conforman la obra como polémicas implícitas contra el famoso libro Degeneración de Max Nordau. Al mismo tiempo, en Los Raros Darío sigue el ejemplo de Paul Verlaine, quien exaltó a sus autores más admirados en su libro Les Poètes maudits. Al margen de nuestro análisis, sin querer queriendo, tropezamos con algunos aspectos desconocidos de la vida de Verlaine en el verano de 1893

Gaya Bahasa Asonansi dan Aliterasi pada Antologi Puisi Romances Sans Paroles

This research aims to explain the analysis figure of speech of assonance et alliteration in poems anthology by Paul Verlaine. The research questions discussed in this research are how the assonance and the alliteration found in those poems by focusing on the repetition of vowels and consonants phonemes in an array. The method used in this research is descriptive-qualitative, by analyzing data contained in the poetry anthology Romances Sans Paroles in the form of sentences. The repetition of phonemes both assonance and alliteration was encountered 137 times. 61 assonances and 76 alliterations were found. The data is dominated by the phoneme [R] which is a type of vibrating shear consonant that found 11 times.

Literary Translation as a Polemic Manifestation of Program Mindsets of Silver Age Trends (translations by V. Bryusov and N. Gumilyov)

The question of literary translation of poems that are important in the context of developing a new artistic strategy by the leaders of the poetic movements of the Silver Age is considered. The relevance of the study is due to the fact that the multicultural and multilingual dialogue of translators is analyzed both with the texts of the original and with each other. The results of a comparative analysis of poems by Paul Verlaine “Art Poétique” in the translation of Valery Bryusov and Teofil Gautier “L’Art” in the translation of Nikolai Gumilyov are presented. The author notes that Bryusov saw ideas that resonate with his idea of symbolism as a stylistic phenomenon in Verlaine’s work. Particular attention is paid to the fact that Verlaine is polemicizing with the previous tradition - the poetry of the Parnassians, whose principles were embodied in the work of Gautier. The question is raised that Nikolai Gumilev, translating Gautier, engaged in implicit controversy with both Bryusov and Verlaine. The author dwells on the fact that the background of this polemic is the justification of the “neoparnassian” and “neoclassical” foundations in the style and poetics of acmeism. It is proved that the purpose of this polemic is the manifestation of the program mindsets of symbolism (in Bruce's version) and acmeism (in Gumilev version) based on the authority of Verlaine and Gautier.