Paul Verlaine Much of the French poetry produced during the "fin de siècle" was characterized as "decadent" for its lurid content or moral vision. In a similar vein, Verlaine used the expression "poète maudit" ("cursed poet") in 1884 to refer to a number of poets like Stéphane Mallarmé, Arthur Rimbaud, Aloysius Bertrand, Comte de Lautréamont or Alice de Chambrier, who had fought against poetic conventions and suffered social rebuke or were ignored by the critics. But with the publication of Jean Moréas' "Symbolist Manifesto" in 1886, it was the term symbolism which was most often applied to the new literary environment. Along
Paul Fleming (poet) contains many notable love-songs. Fleming wrote in Latin as well as in German, and his Latin poems were published in a single volume in 1863, edited by Johann Martin Lappenberg. Fleming has been called a man of "real poetic genius", "the only good poet in Germany during the Thirty Years' War", "possibly the greatest German lyric poet of the seventeenth century" and "the German Herrick". Günter Grass has called him "one of the major figures in German seventeenth-century literature". Fleming wrote the hymn in nine stanzas "" (In all that I do) on the melody of "" by Heinrich Isaac,