Christa Giles

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294 Chapter Three: Dreams and Fantasy 310 Robert Delevoy, Symbolists and Symbolism, (New York: Rizzoli International Publications, Inc., 1978), p. 141. 311 J. K. Huysmans, Against Nature, trans. R. Baldick (New York: Penguin Books, 1959), p. 45. 312 Paul Verlaine, Oeuvres en prose complètes, Bibliothèque de la Pléiade. (Paris: Gallimard, 1972), p. 695. 313 Huysmans, Against Nature, p. 64. 314 Klaus Berger, Odilon Redon (London: McGraw Hill Books Co.), p. 134. 315 Vyvyan Holland, ed., The Complete Works of Oscar Wilde (London: Collins, 1983), p. 108. 316 Ibid., p. 572. 317 J. K. Husmans, En rade (Paris: Gallimard, 1984), p. 59. 318 The Complete Works of Oscar Wilde, p. 101. 319 Ibid. 320 Ibid. 321 Robert Baldick. The Life of J. K. Huysmans (Oxford: Clarendon Press, 1955): p. 67. 322 The Complete Works of Oscar Wilde, p. 978. 323 Ibid. 324 Ibid. 325 Ibid., p. 1030. 326 J. K. Huysmans, Certains (Paris: Tresse & Stock, 1894), p. 67. 327 Ibid. 328 Ibid., p. 72. 329 The Complete Works of Oscar Wilde, p. 1051. 330 Helen Zagona, The Legend of Salomé and the Principle of Art for Art’s Sake, (Paris: Librairie Minard, 1960), p. 123.
331 Huysmans, Certains, p. 72. 295 332 Paul Verlaine, Oeuvres poétiques complètes. Bibliothèque de la Pléiade. (Paris: Gallimard, 1962), p. 261. 333 John Rewald, Post-Impressionism from Van Gogh to Gauguin (New York: Museum of Modern Art, 1956), p. 148. 334 Huysmans, Certains, p. 72. 335 J. K. Huysmans, Down There, trans. Keene Wallace (New York: Dover Publications, Inc., 1972), p. 114. 336 Ibid., p. 149. 337 The Complete Works of Oscar Wilde, p. 976. 338 Ibid. 339 Huysmans, Down There, p. 10. 340 The Complete Works of Oscar Wilde, p. 1039. 341 Ibid., p. 987. 342 Stéphane Mallarmé, Oeuvres complètes I, eds. C. P. Barbier and C. G. Milan (Paris: Flammarion, 1983), p. 230. 343 Jean Pierrot, The Decadent Imagination 1880-1900, trans. Derek Coltman (Chicago: University of Chicago Press, 1981), p. 183. 344 H. B. Chipp, ed., Theories of Modern Art (Berkeley: University of California Press, 1968), p. 117. 345 Walter Pater, The Renaissance (New York: Boni & Liveright, 1919), p. 196. 346 Huysmans, Down There, p. 172. 347 Huysmans, Certains, p. 223. 348 J. Barbey D’Aurevilly, Oeuvres romanesques complètes. Bibliothèque de la Pléiade. (Paris: Gallimard, 1966), vol. 2, p. 718. 349 Joseph Darracott, The World of Charles Ricketts (London: Eyre Methuen, 1980), p. 32. 350 Huysmans, Certains, p. 21. 351 Robert L. Delevoy, Symbolists and Symbolism (New York: Rizzoli International Publications, Inc., 1978), p. 40.
Page 1:
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
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
Page 80 and 81:
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
Page 110 and 111:
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
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198 the decadent loathing of what h
Page 200 and 201:
200 In Flaubert’s case, there was
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202 foreground. In ˝Salome Dancing
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204 Esseintes-more real than the pa
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206 beyond descriptive ones.˝ 528
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208 yeux obstinément fermés, j’
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210 because they were suggestive. U
Page 212 and 213:
212 an ˝oeuf resté constamment ma
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214 salauderie populacière et de g
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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 248 and 249: 272 ---˝Notice˝ in Les Fleurs du
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 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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