Christa Giles

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198 the decadent loathing of what he referred to in A rebours as the ˝American manners of his time.˝ …cette honte du goût moderne, la rue; ces boulevards sur lesquels végètent des arbres orthopédiquement corsetés de fer et comprimés par les bandagistes des ponts et chaussées, dans les roues de fonte; ces chaussées secouées par d’énormes omnibus et par des voitures de réclame ignobles; ces trottoirs remplis d’une hideuse foule en quête d’argent, de femmes dégradées par les gésines, abêties par d’affreux négoces, d’hommes lisant des journaux infâmes ou songeant à des fornications et à des dols le long de boutiques d’oừ les épient pour les dépouiller, les forbans patentés des commerces et des banques, l’on comprenait mieux encore cette oeuvre de Gustave Moreau, indépendante d’un temps, fuyant dans les au delà, planant dans le rêve, loin des excrémentielles idées, secrétées par tout un peuple. 517 Manifestly, Moreau was a vehicle whereby Huysmans could affirm the value of the imagination over reality and suggest a love of the mysterious rather than the concrete. Moreover, the complexity of Moreau’s work, its mysticism, his use of fantastic imagery (twilight and sunset, jewels)
199 and self-conscious use of detail would obviously hold great interest for Wilde and Huysmans. Wilde visited Moreau’s studio in 1883 and was extremely impressed. It was unlikely that Wilde, whose aesthetic was ˝la philosophie de l’irrealité,˝ 518 would not respond to Moreau’s work. For much of Moreau’s imagery was derived from Flaubert; indeed, according to Gustave Larroumet, Flaubert was Moreau’s favourite author, one …in whom he found the curious turn of mind and the splendor of form which he achieved himself, and also the haunting memory of the Oriental mirage; the Flaubert of Salammbô and La Tentation de Saint-Antoine, needless to say, rather than the Flaubert of Madame Bovary. 519 The vision of an exotic Orient – mysterious, cruel, and passionate– became a commonplace at the turn of the century. The hunger for the exotic was a product of this desire to abandon oneself to a land of dreams. Further, this concern with myths and dreams allowed for extremes: scenes of debauchery, violence, and passion. The femme fatale, in particular, became a kind of icon –cruel, unattainable, and exotic. In A rebours, Huysmans describes Flaubert’s appeal for Des Esseintes in terms of these preoccupations:
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THE ARTIST, THE DEVIL AND THE DANDY
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Şos. Panduri 90-92, Bucureşti - 0
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TABLE OF CONTENTS INTRODUCTION ....
Page 10 and 11:
10 The cornerstone of Wilde’s and
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12 he can only reproduce the fragme
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14 Nature’s lack of design, her c
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16 ˝imagination could provide a mo
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18 to an English tavern, as to visi
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20 different kind of beauty which w
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22 Art which deals with vice and pe
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24 the most perfect pleasure simply
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26 Courtisane. In ˝The Decay of Ly
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28 paintings at the Salon of 1889 e
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30 singular hallucinations of the f
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32 there is nothing really beautifu
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CHAPTER 1 DANDYISM Le dandy suprêm
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36 beautiful things. Wilde’s most
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38 toward the ideal in form and mor
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40 to be obvious is to be inartisti
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42 ˝Sorry to hear it, Tuppy; whene
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44 Symons, too, often focusses on a
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46 in art that the body is the soul
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48 Lord Henry exclaims, ˝I love ac
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50 abnormal (which is of course a p
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52 significant, not what the mask h
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54 The bifurcation between the inte
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56 Indeed Wilde was to write that
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58 the funeral, Pierrot gravely mee
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60 Plusieurs de ses affiches l’at
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62 often manifests evil. He is para
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64 that there should be an observer
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66 The very sharpness of the contra
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68 enables man to best express his
Page 70 and 71:
CHAPTER II SATANISM Certain attainm
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72 entitled ˝La Révolte˝ (and in
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74 (perversity, for example) are go
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76 This concern with sin in both Wi
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78 mysticism to base satanism,˝ we
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80 These demonic Pierrots remind on
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82 crude commercialism of America,
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84 satanism. In Les Diaboliques Bar
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86 and the eternal pathos of the hu
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88 the artist. The Manicheism evinc
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90 ages that are being dealt with:
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92 being suspended between two worl
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94 feminine mystery. Moreau encapsu
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96 play, Salomé is explicitly iden
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98 Jokanaan, ˝and thou didst fill
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100 decadent rejection of reality a
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102 Such misogynistic sentiments ar
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104 her, but observes that this des
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106 decadent predilection for the d
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108 réfugier dans la pénitente ad
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CHAPTER III DREAMS AND FANTASY Sugg
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112 considered as a potential mothe
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114 eternity in a moment. Huysmans
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116 aux cimes des échalas, aux pie
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118 Huysmans so admired entitled hi
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120 Thematically, the dream enabled
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122 as well as an affirmation of th
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124 which no real voice has ever pi
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126 Huysmans also identified Moreau
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128 the obvious precursor of this t
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130 frowned and looked very severe,
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132 Woman, in her primal essence, a
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134 He gazes at the . . . spaces in
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136 voyages by decorating his room
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138 maddened by desire, crazed by a
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140 Perhaps more than any other art
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142 creation of the self or the exp
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144 Redon not only focussed on the
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146 direct translation or interpret
Page 148 and 149: 148 Jacques awakens and the dream i
Page 150 and 151: 150 Esther éclatât comme une myst
Page 152 and 153: 152 autres se présentaient aussit
Page 154 and 155: 154 The Surrealists took this a ste
Page 156 and 157: 156 stimulating him, then inducing
Page 158 and 159: 158 workings of the mind and psycho
Page 160 and 161: 160 CHAPTER IV ART AND ARTISTS Art
Page 162 and 163: 162 and Huysmans’ repeated emphas
Page 164 and 165: 164 unconscious work. I wrote it wi
Page 166 and 167: 166 which the unity of the book is
Page 168 and 169: 168 Que le style n’est en art qu
Page 170 and 171: 170 admiration for the purely decor
Page 172 and 173: 172 Huysmans speaks approvingly of
Page 174 and 175: 174 ˝What is true about music,˝ W
Page 176 and 177: 176 intellectually and emotionally
Page 178 and 179: 178 wonderfully beautiful figures r
Page 180 and 181: 180 of thought and emotion and auto
Page 182 and 183: 182 nouveau.˝ 478 Wilde similarly
Page 184 and 185: 184 In his art criticism Huysmans h
Page 186 and 187: 186 the masses. However, he similar
Page 188 and 189: 188 comprehensible only to minds sh
Page 190 and 191: 190 the one means to escape and mom
Page 192 and 193: 192 It is telling that Wilde in ˝T
Page 194 and 195: 194 than exclusively subject matter
Page 196 and 197: 196 Pater’s essay on Coleridge, p
Page 200 and 201: 200 In Flaubert’s case, there was
Page 202 and 203: 202 foreground. In ˝Salome Dancing
Page 204 and 205: 204 Esseintes-more real than the pa
Page 206 and 207: 206 beyond descriptive ones.˝ 528
Page 208 and 209: 208 yeux obstinément fermés, j’
Page 210 and 211: 210 because they were suggestive. U
Page 212 and 213: 212 an ˝oeuf resté constamment ma
Page 214 and 215: 214 salauderie populacière et de g
Page 216 and 217: 216 d’analyste tout à la fois cr
Page 218 and 219: 218 Manifestly, then, Wilde and Huy
Page 220 and 221: 220 extinction, and by definition d
Page 222 and 223: 222 ˝Why does she look at me with
Page 224 and 225: 224 be quiet at all until she had h
Page 226 and 227: 226 albeit, ˝de fautes surhumaines
Page 228 and 229: 228 artistic success immensely. I o
Page 230 and 231: 230 part for such interest. It is a
Page 232 and 233: 232 unity was attained through the
Page 234 and 235: 234 in the hands of a unique temper
Page 236 and 237: 236 their effects. For this reason,
Page 238 and 239: 238 thrust, which draws the eye fro
Page 240 and 241: CHAPTER V CONCLUSION ˝Modern life
Page 242 and 243: 242 Wilde’s and Huysmans’ work
Page 244 and 245: 268 582 Huysmans, Against Nature, p
Page 246 and 247: 270 Camus, Albert. Discours de Sué
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272 ---˝Notice˝ in Les Fleurs du
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274 Maignon, Charles. L’Univers A
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276 Schopenhauer, Arthur. The World
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278 Tiparul s-a executat sub cda 20
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282 22 Ibid., p. 75. 23 Ibid., p. 7
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284 Chapter One: Dandyism 72 Charle
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286 115 The Complete Works of Oscar
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288 168 J. K. Huysmans, Croquis par
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290 215 Huysmans, Certains, p. 78.
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292 265 Arthur Symons, The Symbolis
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294 Chapter Three: Dreams and Fanta
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296 352 J. K. Huysmans, L’Art mod
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298 406 Ibid. 407 Ibid., p. 66. 408
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300 456 Huysmans, En Marge, p. 133.
Page 278 and 279:
302 504 Ibid. 505 Ibid., p. 1048. 5
Page 280 and 281:
304 555 The Complete Works of Oscar
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Christa Giles

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