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Arthur Symons, Critic Among Critics C 60 235. Craig, Edward. Gordon Craig: The Story of His Life. New York: Knopf, 1968. 152, 153. “When Acis [Acis and Galatea] was transformed into a fountain in the last scene, the tent of grey streamers slowly disappeared, and in the vast expanse of blue sky, a ‘Water God’ gradually materialized in the form of a great fountain where the sparkling beads of water rose and fell” (152). AS and others “were carried away by the beauty and the ‘suggestion that strikes straight to the nerves of delight’” (153). AS was thought to have been seen “wildly applauding” (153). [Brief mention of AS.] 236. Craig, Gordon. “On Signora Eleonora Duse.” Dial (May 1928): 361–71. AS “has always written well, and he writes of books even better, I think, than when he writes of actors and acting. Books are such grand things. When he comes to acting he falls in love with it. He loses his heart to the performer and he sometimes grows confused. I have said how impossible it is to write on an actor’s performance of a passion. So how write on the passion itself. Yet Mr Symons sometimes attempts to do this too. He writes of Duse and her performances and he writes of Signora Duse and her lovers. I don’t see how it can be done, and so I am not surprised as I have read to come across some slips.… For who knows about such things, who can know? Not I, not you, and not he” (366). [Craig is referring to AS’s Eleonora Duse.] 237. Craig, R. Cairns. “The Continuity of the Associationist Aesthetic: From Archibald Alison to T. S. Eliot (and Beyond).” Dalhousie Review 60 (1980): 20–37. After Coleridge, associationist theory, such as that advocated by Archibald Alison , was generally considered uninfluential on the development of literature. This typical version of literary history does not take into account the presence of associationist theory throughout the development of modern literature. This is particularly evident in AS’s The Symbolist Movement in Literature which resembles much of Arthur Hallam’s critical vocabulary in its discussion of “sensations.” “[W]hen British writers came to explain symbolism to themselves they did it largely through their inheritance from associationism …” (30). AS’s analysis of the way Mallarmé removes connections in his poetry resembles “an explanation , in Alison, of how people actually experience poetry,” and can be traced “through the work of Hallam, Mill, Yeats and Symons” (31). In addition, the traditional division between AS and the Imagists breaks down when examining Ezra Pound: “Pound’s actual technique as an Imagist seems to correspond to Symons’s description of Mallarmé…” (32). 238. Crawford, Robert. Rev. of Arthur Symons: A Life, by Karl Beckson. Notes and Queries 35.3 (1988): 394–95. Beckson’s biography “is detailed, yet less than gripping” (394). This weakness plays out in the chapters on The Symbolist Movement in Literature and on AS’s mental breakdown. Although AS appears to have lived a life full of sensations and acquaintances, these experiences do not catch or hold the reader’s attention (395). Regardless it exhibits “careful scholarship” and is a valuable document on the Decadent period due to the breadth of AS’s literary acquaintances (394). Beckson’s claims about the importance of AS’s poetry and his role in develop- An Annotated Bibliography C 61 ing modernism do not seem to match with contemporary scholarship and do not have enough evidence in the text to truly convince the reader. 239. Crawford, Robert. “Pater’s Renaissance, Andrew Lang, and Anthropological Romanticism.” English Literary History 53. 4 (1986): 849–79. [Passing mention that AS “considered that Pater’s ‘Aesthetic Poetry’ (1868) was ‘written under the influence of Baudelaire…” (850). 850, 876.] 240. Croft-Cooke, Rupert. FeastingWith Panthers:A New Consideration of Some Late VictorianWriters. NewYork: Holt, Rinehart and Winston, 1968. 9, 61, 166–67, 170, 214, 239, 242, 244, 251, 255–57, 286, 289. “Most of the valid poetry of the Nineties could have been written and published ten years earlier or later and only some of the pre-comedy writings of Wilde, Beardsley’s Under the Hill, some minor poetry and a number of passages in the critical work of Arthur Symons who tried to speak for the period, have distinct if superficial characteristics” (166). AS “wrote a short sensational but inaccurate article on him [Count Eric Stenbock] after his own period of insanity which tells...


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