Therefore the exotic curiosity for Japanese culture was limited to art and did not seem to have yet had penetrated the arcane of Japanese poetry. The poems do not show any interest in the condensed Japanese poetical form or any real knowledge of the Japanese customs and traditions.
The fairly recent economic and political opening of Japan to the West, its cultural and geographic remoteness, the difficulty of its language, the lack of translations did not allow for any deep and sustained approach of Japanese letters.
In the second half of the 19th C. According to Gautier, by nature art is disinterested, has no useful aim. It is its very own end: In order to conquer beauty, the poet must work on the form.
Facility must be banned. The door was then opened to the plastic, impassible poetry of the Parnasse that sees poetical work as an acrobatic and skilled activity. As opposed to the Parnasse, Symbolism is based on the sense of mystery that is in and around us. Therefore poetry cannot be descriptive and will use symbols to reach the soul of things.
The unknown and the subconscious are at the crux of this poetry that is also characterized by the use of free verse. At the beginning of the 20th C. On the other hand, they are the newcomers who, through these mixed currents, push further the poetic investigation.
It is a period of evolution.
Reviews, manifestos, schools have never been so numerous. Poetry is still a dominated chant but where traditional meters, cuts and rhymes find a lot of equivalents. Poetry tended to be isolated from real life. The tone adopted testifies to the abandonment of a cerebral and only dreamed universe.
Inthe Unanimist movement attempted to rejoin, behind the fragmentary spectacle of daily life, not the mysterious essences, but the felt presence of a collective soul.
At the same time, Futurism calling for mechanical tumult and material violence confirmed a more general recourse to the vision of the modern world modified by speed, the ubiquity of the new born cinema and the simultaneous interpretation of concrete form toward which painting tended.
It is in this context that the haiku penetrated the French poetical scene. It would be an obvious mistake not to include Jules Renard as a serious precursor of the French haiku. His Histoires naturelles first published in are definitely not directly influenced by Japanese poetry.
A pig should be spoken of just as a flower. I believe that a description of more than ten words is not visible anymore.
Of nearly all literature, one can say that it is too long.
Reduce life to its simplest expression. Jules Renard 7 A Form experimentation and assimilation. With the early 20th C.
This period can be divided into two stages running from to IForm Experimentation The French intellectuals and poets were not the first to write about haiku, but they were the first Westerners to attempt to adapt the poetic principles of the Japanese genre to a Western language and culture.
According to Gary L. Undoubtedly, these articles must have had an influence on the French intellectuals and poets who were interested in Japanese literature and were looking for new modes of poetic expression.
Couchoud who taught his friends the Japanese genre, was a professor of philosophy and doctor of medicine.Add Comments. You have made some good points there. I looked on the net for more info about the issue and found most individuals will go along with your views on this website.
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Varma A Soldier Unafraid - Letters from the Trenches on the Alsatian Front (), Andre Cornet-Auquier, Theodore Stanton X A Study in the Sources of the Messeniaca of Pausanias (), Hermann Louis Ebeling Investment Forecasts for . In the 19th century, through an artistic and literary movement known as “Japonisme”, French poets appear to have been solely attracted by the evocation and illustration of Japanese works of art such as color-prints or curios, which they usually transcribed in the sonnet form.
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