Christa Giles

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272 ---˝Notice˝ in Les Fleurs du Mal, Oeuvres complètes. Vol. 1. Paris: Calman-Lévy, 1868. Gilman, Richard. Decadence: The Strange Life of an Epithet. New York: Farrar, Straus and Giroux, 1979. Hart-Davis, Rupert, ed. The Letters of Oscar Wilde. London: Hart-Davis, 1962. Hennique, Léon and J. K. Huysmans. Pierrot sceptique. Paris: Edouard Rouveyre, 1881. Hoffman, Frederick J. Freudianism and the Literary Mind. Louisiana: Lousiana University Press, 1957. Holland, Vyvyan,. ed. The Complete Works of Oscar Wilde. London: Collins, 1983. Holt, Elizabeth Gilmore, ed. From the Classicists to the Impressionists. New York: University Press, 1966. Hough, Graham. The Last Romantics. New York: Barnes and Noble, 1961. Houghton, Walter. The Victorian Frame of Mind, 1830-1870. New Haven: Yale University Press, 1957. Howe, Jeffrey. The Symbolist Art of Fernand Khnopf. Michigan: UMI Research Press, 1979. Huysmans, J. K. Against Nature. Trans. R. Baldick. New York: Penguin Books, 1959. --- A rebours/Le drageoir aux épices. Paris: Union Générale, 1975. --- L’Art moderne. Paris: Librairie Plon, 1909. --- Certains. Paris: Tresse & Stock, 1894. --- Croquis parisiens. Paris: Librairie Plon, 1955.
273 --- Down There. Trans. Keene Wallace. New York: Dover Publications, Inc., 1972. --- En Marge. Paris: Chez Marcelle Lesage, 1927. --- En rade. Paris: Gallimard, 1984. --- Là-bas. Paris: Garnier-Flammarion, 1978. Juin, Hubert. Barbey D’Aurevilly. Paris: Seghers, 1975. Jullian, Philippe. Dreamers of Decadence. New York: Praeger Publishers, 1971. ---. Oscar Wilde. London: Granada Publishing Ltd., 1971. ---. Prince of Aesthetes: Count Robert de Montesquiou, 1855- 1921. New York: Viking Press, 1968. Kermode, Frank. The Romantic Image. London: Kegan Paul, 1957. Kuhn, Reinhard. The Demon of Noontide: Ennui in Western Literature. Princeton, New Jersey: Princeton University Press, 1976. Lane, Allen. Symbolism. London: Penguin Books, Ltd., 1979. Lehmann, A. G. The Symbolist Aesthetic. Oxford: Basil Blackwell, 1968. Lester, John L. Journey Through Despair 1880-1914. New Jersey: Princeton University Press, 1968. Lhôte, J. M. Les Mots de Degas. Paris, 1967. Lowry, Joyce 0. The Violent Mystique. Librairie Proz. Lucie-Smith, Edward. Symbolist Art. New York: Oxford University Press, 1972. Madsen, S. T. The Sources of Art Nouveau. Oslo: Ashenhoug & Co., 1955.
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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
Page 54 and 55:
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
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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
Page 100 and 101:
100 decadent rejection of reality a
Page 102 and 103:
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,
Page 132 and 133:
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
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148 Jacques awakens and the dream i
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150 Esther éclatât comme une myst
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152 autres se présentaient aussit
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154 The Surrealists took this a ste
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156 stimulating him, then inducing
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158 workings of the mind and psycho
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160 CHAPTER IV ART AND ARTISTS Art
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162 and Huysmans’ repeated emphas
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164 unconscious work. I wrote it wi
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166 which the unity of the book is
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168 Que le style n’est en art qu
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170 admiration for the purely decor
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172 Huysmans speaks approvingly of
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174 ˝What is true about music,˝ W
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176 intellectually and emotionally
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178 wonderfully beautiful figures r
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180 of thought and emotion and auto
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182 nouveau.˝ 478 Wilde similarly
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184 In his art criticism Huysmans h
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186 the masses. However, he similar
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188 comprehensible only to minds sh
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190 the one means to escape and mom
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192 It is telling that Wilde in ˝T
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194 than exclusively subject matter
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196 Pater’s essay on Coleridge, p
Page 198 and 199: 198 the decadent loathing of what h
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
Page 250 and 251: 274 Maignon, Charles. L’Univers A
Page 252 and 253: 276 Schopenhauer, Arthur. The World
Page 254: 278 Tiparul s-a executat sub cda 20
Page 258 and 259: 282 22 Ibid., p. 75. 23 Ibid., p. 7
Page 260 and 261: 284 Chapter One: Dandyism 72 Charle
Page 262 and 263: 286 115 The Complete Works of Oscar
Page 264 and 265: 288 168 J. K. Huysmans, Croquis par
Page 266 and 267: 290 215 Huysmans, Certains, p. 78.
Page 268 and 269: 292 265 Arthur Symons, The Symbolis
Page 270 and 271: 294 Chapter Three: Dreams and Fanta
Page 272 and 273: 296 352 J. K. Huysmans, L’Art mod
Page 274 and 275: 298 406 Ibid. 407 Ibid., p. 66. 408
Page 276 and 277: 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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