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Arthur Symons, Critic Among Critics S 240 overview of criticism by [AS and others] … tracing the similarities and differences among aesthetic and decadent visions of the seventeenth century. Finally, it suggests a number of areas for new work on the topic” (195). Abstract from the beginning of the article.] 996.2. Séllei, Nóra. Katherine Mansfield andVirginiaWoolf:A Personal and Professional Bond. Debrecener Studien zur Literatur Bd. 2. Frankurt am Main: Peter Lang, 1996. 55. Mansfield “was taught what she most needed, what she could not acquire in New Zealand: modern languages (French and German), music and modern literature : under the mentorship of Walter Rippmann she was encouraged to read … Arthur Symons” (55). 997. Sencourt, Robert. T. S. Eliot: A Memoir. Ed. Donald Adamson. New York: Dodd, Mead, 1971. 27–30, 243n. Eliot read AS’s The Symbolist Movement in Literature and was strongly impressed by AS’s discussion of the power of symbol and by his discussion of French poets. Eliot was most enthralled by AS’s inclusion of Laforgue, a man whose style and character were startlingly close to Eliot’s notion of an ideal artist.While not imitating Laforgue, Eliot’s art was nevertheless significantly changed by this encounter . After his undergraduate work at Harvard, and prompted by AS’s preference of Paris to London, Eliot decided to spend a year in Sorbonne to experience firsthand the legacy of Laforgue and Baudelaire (30). [Also published London: Garstone , 1971.] 998. Senf, Carol A. Rev. of Rituals of Dis-Integration:Romance and Madness in theVictorian Psychomythic Tale, by Edwin F. Block, Jr. Victorian Studies 38.3 (1995): 489– 91. The psychomythic tale is one species within the minor genre of Gothic fiction, and two chapters “examine the conventions that contribute to the uniqueness of the psychomythic tale in the period 1886 to 1905” (490). One chapter of the book is focused on AS’s “Extracts from the Journal of Henry Luxulyan” (1905). [Passing reference.] 999. Sengupta, Padmini. Sarojini Naidu: A Biography. New York: Asia Publishing House, 1966. 4, 23, 30, 31, 32, 36, 53, 55, 56, 58. “Sarojini’s outstanding success brought her fame throughout India, but strangely enough, being famous did not in any way fascinate her. She disliked publicity and renown.” She told AS, “‘Honestly, I was not pleased; such things did not appeal to me’” (23). After their meeting at Cambridge, AS “was enthralled by this child of the mystic East who could not only write verse but possessed the joyful gift of laughter. Sarojini also met members of the Rhymers’ Club who further influenced her and made her understand ‘the verbal and technical accomplishment, the mastery of phrase and rhythm’ of English verse, without which she could not have translated her visions and experiences into melodious poetry” (30). AS “introduced his young Indian friend to the English-speaking world” (53). AS felt that her poems “written up to 1905 possessed an ‘individual beauty of their own.’ He realized their intrinsic worth and wrote accordingly to Sarojini; but she hesitated to publish her poems for she was humble to the core” (55). She wrote to AS, “‘I am not a poet really. I have the vision and the desire, but not the voice’” An Annotated Bibliography S 241 (55). AS “felt that ‘it was the desire of beauty’ that made her a poet” (56). He praised her for “her wisdom, passion and humour” (58). 1000. Senior, John. “The Occult in Nineteenth-Century Symbolist Literature.” Diss. Columbia U, 1957. [Last chapter relatesYeats, and to a lesser extent, AS, to the occult societies and the Symbolists.] (Stern) [This thesis is an exploration of the relation of occultism to the symbolist movement in nineteenth-century French and English literature.…This thesis is meant to be exploratory rather than definitive, and its final contentions are therefore tentative.They are these: 1) that symbolist poets had direct connections with specifically occult movements, in their reading and often in personal experience, and 2) that the world-view behind the symbolist movement as a whole is essentially occult.] [Annotation edited from Dissertation Abstracts 17 (1957): 1769–70.] 1001. Seward, Barbara. The Symbolic Rose. NewYork: Columbia UP, 1960. 83, 107– 108, 199. The rose in AS’s “Rosa Flammae” appears as “a typical decadent metaphor of sacrilegious lust.” In “Rosa Mundi” it faintly approaches at least the theory of symbolism. “Rosa Mundi” illustrates well the “weakly imitative condition of the waning poetry of the nineties.” [References to influence of AS’s The Symbolist...


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