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Symbolist

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Juan Luis Martinez's Philosophical Poetics by Scott Weintraub

Folk-Lore of Shakespeare by T.F. Thiselton-Dyer

The Translation and Transmission of Concrete Poetry by John Corbett

•-The Rope & The Cuckold-

178 books — 2 voters

Maldoror and Poems by Comte de Lautréamont

The Sufferings of Prince Sternenhoch by Ladislav Klíma

•Poedelaire

102 books — 5 voters

Japanese Woodblock Prints (1680–1938) by Andreas Marks

The Complete Woodcuts of Albrecht Dürer by Albrecht Dürer

A Pictorial History of Magic and the Supernatural by Maurice Bessy

•The Details Werent Just Sketchy, They Were Deliberate And Premeditated Feedback Loops Of Black Magic

199 books — 4 voters

Hall's Iconografisch Handboek by James Hall

The Vigilant Citizen Articles Compilation by Vigilant Citizen

Tonya Harding Shot JFK by Robert Urbanek

Joodse riten en symbolen by S.Ph. de Vries

"Symbolic" Poultry Expedition

104 books — 3 voters

The City of Dreadful Night and Other Poems by James Thomson

Death's Jest Book by Thomas Lovell Beddoes

Gothicomantibolisms

131 books — 9 voters

Jüdische Riten und Symbole by S.Ph. de Vries

The First Signs by Genevieve von Petzinger

Cymbalic Paradiddling

126 books — 3 voters

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“ We observe in this torrent of incoherence a lack of regularity in the subject himself; the "I" has fallen to pieces after struggling for three centuries against the great objective institutions and dissolving them with its subjectivism and rejecting in them any law that was sacred and binding on itself. There is no reason to think that Decadence - obviously an historical phenomenon of great inevitability and significance — has confined itself to poetry; we should expect in the more or less dist ...more ”
― Vasily Rozanov, Silver Age of Russian Culture

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“ The great self-limitation practiced by man for ten centuries yielded, between the fourteenth and seventeenth centuries, the whole flower of the so-called "Renaissance." The root, usually, does not resemble the fruit in appearance, but there is an undeniable connection between the root's strength and juiciness and the beauty and taste of the fruit. The Middle Ages, it seems, have nothing in common with the Renaissance and are opposite to it in every way; nonetheless, all the abundance and ebullie The great self-limitation practiced by man for ten centuries yielded, between the fourteenth and seventeenth centuries, the whole flower of the so-called "Renaissance." The root, usually, does not resemble the fruit in appearance, but there is an undeniable connection between the root's strength and juiciness and the beauty and taste of the fruit. The Middle Ages, it seems, have nothing in common with the Renaissance and are opposite to it in every way; nonetheless, all the abundance and ebullience of human energies during the Renaissance were based not at all on the supposedly "renascent" classical world, nor on the imitated Plato and Virgil, nor on manuscripts torn from the basements of old monasteries, but precisely on those monasteries, on those stern Franciscians and cruel Dominicans, on Saints Bonaventure, Anselm of Canterbury, and Bernard of Clairvaux. The Middle Ages were a great repository of human energies: in the medieval man's asceticism, self-abnegation, and contempt for his own beauty, his own energies, and his own mind, these energies, this heart, and this mind were stored up until the right time. The Renaissance was the epoch of the discovery of this trove: the thin layer of soil covering it was suddenly thrown aside, and to the amazement of following centuries dazzling, incalculable treasures glittered there; yesterday's pauper and wretched beggar, who only knew how to stand on crossroads and bellow psalms in an inharmonious voice, suddenly started to bloom with poetry, strength, beauty, and intelligence. Whence came all this? From the ancient world, which had exhausted its vital powers? From moldy parchments? But did Plato really write his dialogues with the same keen enjoyment with which Marsilio Ficino annotated them? And did the Romans, when reading the Greeks, really experience the same emotions as Petrarch, when, for ignorance of Greek, he could only move his precious manuscripts from place to place, kiss them now and then, and gaze sadly at their incomprehensible text? All these manuscripts, in convenient and accurate editions, lie before us too: why don't they lead us to a "renascence" among us? Why didn't the Greeks bring about a "renascence" in Rome? And why didn't Greco-Roman literature produce anything similar to the Italian Renaissance in Gaul and Africa from the second to the fourth century? The secret of the Renaissance of the fourteenth-fifteenth centuries does not lie in ancient literature: this literature was only the spade that threw the soil off the treasures buried underneath; the secret lies in the treasures themselves; in the fact that between the fourth and fourteenth centuries, under the influence of the strict ascetic ideal of mortifying the flesh and restraining the impulses of his spirit, man only stored up his energies and expended nothing. During this great thousand-year silence his soul matured for The Divine Comedy; during this forced closing of eyes to the world - an interesting, albeit sinful world-Galileo was maturing, Copernicus, and the school of careful experimentation founded by Bacon; during the struggle with the Moors the talents of Velasquez and Murillo were forged; and in the prayers of the thousand years leading up to the sixteenth century the Madonna images of that century were drawn, images to which we are able to pray but which no one is able to imitate. ("On Symbolists And Decadents") ...more ”
― Vasily Rozanov, Silver Age of Russian Culture

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