Richard Dehmel stands out within the ‘fin de siècle’ cultural plurality for his radical symbolism, animated by the sharpness of the poet’s perception. To Dehmel the typical symbolistic principle, according to which every object mirrors and refracts the others in a relation of correspondence with no continuity, does not require subjectivity to get lost in a multitude of divergent, incompatible impressions, as it happens in Mach and in some of Bahr’s, Schnitzler’s and Hofmannsthal’s critical writing. Dehmel projects the power to semantise reality onto the sensitive ability of the aesthetic individual. Such power draws from the premise that the symbol is the most suitable device to represent totality aesthetically with the aid of the fruitful associative connections it creates. This essay aims at summing up Dehmel’s theoretical writing on the matter, as well as to investigate how the aspiration to synesthetic empowering of the poetical word takes shape in a systematic hybridization between the sensorial fields.