Symbolist Manifesto

The Symbolist Manifesto, written by Jean Moréas and published in *Le Figaro* in 1886, marked a defining moment for the Symbolist movement in literature. It was a reaction against Romanticism and Naturalism, emphasizing the subjective over the objective and advocating for the exploration of inner reality through symbols and suggestions rather than direct representation. The manifesto was structured into three main sections: an opening argument, a dramatic intermezzo, and a closing argument. The opening argument positioned Symbolism as a movement distinct from Decadence, with which it had previously been associated. Moréas sought to distance his group from the works of Anatole Baju and others linked to Decadence. The manifesto highlighted the subjective nature of art, asserting that it should explore the human condition within a distorted reality shaped by individual hallucinations. The dramatic intermezzo included references to writers like Victor Hugo, Charles Baudelaire, Stéphane Mallarmé, Paul Verlaine, and Théodore de Banville, who were seen as foundational figures in the development of Symbolism. Moréas also acknowledged the influence of earlier authors such as Alfred de Vigny and William Shakespeare. The closing argument emphasized the transformative power of art and its ability to bring together diverse streams of thought. It concluded that art must focus on the subjective rather than the objective, a central tenet of Symbolism. The manifesto's publication in *Le Figaro*, one of Paris's highest-circulating newspapers, ensured widespread attention. While it was not universally accepted—some allies like Gustave Kahn offered differing interpretations—it became the defining document for Symbolism. It reshaped ...