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Verlaine's birthplace in Metz, today a museum dedicated to the poet's life and artwork. Paul-Marie Verlaine (/ v ɛər ˈ l ɛ n / vair-LEN; [1] French: [pɔl maʁi vɛʁlɛn]; 30 March 1844 – 8 January 1896) was a French poet associated with the Symbolist movement and the Decadent movement.
"Chanson d'automne" ("Autumn Song") is a poem by Paul Verlaine (1844–1896), one of the best known in the French language. It is included in Verlaine's first collection, Poèmes saturniens, published in 1866 (see 1866 in poetry). The poem forms part of the "Paysages tristes" ("Sad landscapes") section of the collection. [1]
The collection was originally hand-written and distributed by Verlaine, himself. Hombres includes "The Sonnet to an Asshole" ("Le Sonnet du trou du cul"), an erotic poem co-written by Arthur Rimbaud in 1871. Hombres is the third and final collection of poetry that comprises Verlaine's Erotic Trilogy, after Les Amies and Femmes.
The texts were reprinted in book form in October 1886 by Les publications de La Vogue under the title Les Illuminations proposed by the poet Paul Verlaine, Rimbaud's former lover. In his preface, Verlaine explained that the title was based on the English word illuminations , in the sense of coloured plates, and a sub-title that Rimbaud had ...
"Clair de lune", setting of the Paul Verlaine poem by Fauré, from his Two Songs, Op. 46 (1887) Clairs de lune , a set of four piano pieces, each titled "Clair de Lune " , by Abel Decaux (1907) Piano Sonata No. 14 , Op. 27, No. 2 (1801), the "Moonlight" piano sonata by Beethoven, known in French as Sonate au Clair de lune
Debussy, a lifelong admirer of Verlaine's poetry, had taken a copy of the collection with him when he went to study in Rome in 1885. [1] Although other composers, from Gabriel Fauré to Benjamin Britten set Verlaine's poetry, Debussy, according to the Grove Dictionary of Music and Musicians, was the first composer of any importance to do so. [2]
The poetry of Paul Verlaine had a more profound influence on Claude Debussy's music than did Debussy's closest literary or musical acquaintances. [2] Debussy and Verlaine were both inspired by subtlety and nuance. Each man sought to innovate by using rhythm and tone color as the basis for a new form of a pre-existing art.
Of the several attempts at defining the essence of symbolism, perhaps none was more influential than Paul Verlaine's 1884 publication of a series of essays on Tristan Corbière, Arthur Rimbaud, Stéphane Mallarmé, Marceline Desbordes-Valmore, Gérard de Nerval, and "Pauvre Lelian" ("Poor Lelian", an anagram of Paul Verlaine's own name), each ...