Introduction

In 1908, French-American symbolist poet Francis Vielé-Griffi n related an anecdote about a group of poets calling themselves the “Symbolistes-Instrumentistes.” They were headed by René Ghil, who had claimed to establish scientifi c correspondences among vowels, consonants, colors, orchestral instruments, and emotions. In their enthusiasm for these newly found “scientifi c” links between music and poetry, these poets had arranged for a harmonium to be hoisted up to their fourth-fl oor gathering place.