Christa Giles

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298 406 Ibid. 407 Ibid., p. 66. 408 Ibid., p. 76. 409 Ibid., p. 72. 410 Ibid., p. 78. 411 Ibid. 412 Ibid., p. 79. 413 Ibid., p. 176. 414 Ibid., p. 70. 415 Ibid., p. 49. 416 Ibid., p. 86. 417 Ibid., p. 107. 418 Ibid., p. 108. 419 Ibid., p. 80. 420 Ibid., p. 33. 421 Mathieu, p. 244. 422 Huysmans, En rade, p. 166. 423 Huysmans, Against Nature, p. 84. 424 Baudelaire, Oeuvres complètes (1961), vol. 1, p. 385. 425 Mauris Saillet, Sur la Route de Narcisse (Paris: 2958), pp. 99-101. 426 The Complete Works of Oscar Wilde, p. 143. 427 Huysmans, Against Nature, p. 173. 428 Huysmans, Certains, p. 67 ff. Chapter Four: Art and Artists 429 Vyvyan Holland, ed. The Complete Works of Oscar Wilde (London: Collins, 1983), p. 73. 430 J. K. Huysmans, L’Art moderne (Paris: Librairie Plon, 1908), p. 197.
431 The Complete Works of Oscar Wilde, p. 1027. 432 Ibid., p. 101. 299 433 Rupert Hart-Davis, ed., The Letters of Oscar Wilde (London: Hart-Davis, 1962), p. 255. 434 Huysmans, L’Art moderne, p. 133. 435 J. K. Huysmans, Against Nature, trans. R. Baldick (New York: Penguin Books, 1959), p. 43. 436 J. K. Huysmans, En Marge (Paris: Chez Marcelle Lesage, 1927), p. 126. 437 The Letters of Oscar Wilde, p. 233. 438 The Letters of Gustave Flaubert (1830-1857), ed. and trans. Francis Steegmuller (Cambridge: Belknap Press, 1980), p. 154. 439 Huysmans, Against Nature, p. 95. 440 Havelock Ellis, Affirmations (London, 1899), p. 178. 441 Huysmans, Against Nature, p. 42. 442 The Complete Works of Oscar Wilde, p. 1014. 443 Huysmans, L’Art moderne, p. 153. 444 Huysmans, En Marge, p. 14. 445 The Complete Works of Oscar Wilde, p. 919. 446 Ibid., p. 920. 447 Ibid., p. 987. 448 J. K. Huysmans, Certains (Paris: Tresse & Stock, 1894), p. 16. 449 The Complete Works of Oscar Wilde, p. 978. 450 J. E. Chamberlin, Ripe was the Drowsy Hour (New York: Seabury Press, 1977), p. 96. 451 The Complete Works of Oscar Wilde, p. 1051. 452 Huysmans, Certains, p. 73. 453 Ibid., p. 71. 454 The Complete Works of Oscar Wilde, p. 1033. 455 Ibid., p. 920.
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
Page 48 and 49:
48 Lord Henry exclaims, ˝I love ac
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50 abnormal (which is of course a p
Page 52 and 53:
52 significant, not what the mask h
Page 54 and 55:
54 The bifurcation between the inte
Page 56 and 57:
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
Page 66 and 67:
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
Page 82 and 83:
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:
Page 92 and 93:
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
Page 106 and 107:
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
Page 120 and 121:
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
Page 128 and 129:
128 the obvious precursor of this t
Page 130 and 131:
130 frowned and looked very severe,
Page 132 and 133:
132 Woman, in her primal essence, a
Page 134 and 135:
134 He gazes at the . . . spaces in
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136 voyages by decorating his room
Page 138 and 139:
138 maddened by desire, crazed by a
Page 140 and 141:
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
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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
Page 160 and 161:
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
Page 192 and 193:
192 It is telling that Wilde in ˝T
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194 than exclusively subject matter
Page 196 and 197:
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
Page 204 and 205:
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
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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 270 and 271: 294 Chapter Three: Dreams and Fanta
Page 272 and 273: 296 352 J. K. Huysmans, L’Art mod
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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