Paul Verlaine with Verlaine, Mallarmé, Rimbaud, Paul Valéry, Albert Samain and many others began to be referred to as "Symbolists." These poets would often share themes that parallel Schopenhauer's aesthetics and notions of will, fatality and unconscious forces, and used themes of sex (such as prostitutes), the city, irrational phenomena (delirium, dreams, narcotics, alcohol), and sometimes a vaguely medieval setting. In poetry, the symbolist procedure—as typified by Verlaine—was to use subtle suggestion instead of precise statement (rhetoric was banned) and to evoke moods and feelings through the magic of words and repeated sounds and the cadence of verse (musicality) and metrical innovation.
Clarinda (poet) Clarinda (poet) Clarinda was the pen name used by an anonymous Peruvian poet, generally assumed to be a woman, who wrote in the early 17th Century. The only work attributed to her is the long poem "Discourse in Praise of Poetry" ("Discurso en loor de la poesía"), which was printed in Seville in 1608. She is one of very few female, Spanish-speaking colonial-period poets whose work has not been lost. Thus, she is often read in partnership with Mexico's Sor Juana Inés de la Cruz and fellow Peruvian "Amarilis", whose identity is also uncertain. Because she wrote under a pen