- Page 1: THE ARTIST, THE DEVIL AND THE DANDY
- Page 5: For my mother
- Page 9 and 10: INTRODUCTION The central preoccupat
- Page 11 and 12: eauty as that which the middle clas
- Page 13 and 14: has taken place in the climate of L
- Page 15 and 16: imagination. The artist realises th
- Page 17 and 18: For life, as Wilde suggests in ˝Th
- Page 19 and 20: undermining the reliability of rati
- Page 21 and 22: Wilde’s and Huysmans’ perceptio
- Page 23 and 24: exalts the idea of inaction. Thus,
- Page 25 and 26: consciousness of our real position
- Page 27 and 28: eality of all the strangest, boldes
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- Page 31 and 32: Quite apart from the emphasis on st
- Page 33 and 34: Moreover, Huysmans takes the radica
- Page 35 and 36: The reverence for the artificial is
- Page 37 and 38: Wilde praises decorative art as a
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- Page 41 and 42: nevertheless turned to them in orde
- Page 43 and 44: through a series of ironic inversio
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- Page 47 and 48: of the dandy, is in fact a creation
- Page 49 and 50: Of course, throughout Wilde’s and
- Page 51 and 52: of art as a ˝lie.˝ This is not si
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modes of triviality and indifferenc
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Lord Darlington: Ah, don’t say th
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intruder and it is revealed that be
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or grotesque or lacking in style. .
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mournful contemplation of things be
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anqueroutes, d’un vieux juge tomb
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of them without ever (as in Lord He
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But, oh horror! on certain evenings
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wilfulness and to affectation. Its
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The idea of modernity in Wilde’s
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with his criminal inclinations. Thu
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Wilde’s and Huysmans’ interest
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spiritual pole to pole. 212 Arthur
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esplendent, that is all.˝ 222 In h
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He has conjured up the devil once m
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An obvious extension of this intere
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sinister quality. When Basil Hallwa
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Of course, sacrilege is a central c
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ack to the prodigious sins of the f
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essentially a symbolist work and, a
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the feminine principle throughout t
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supreme expression in the figure of
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the feminine. It is also helpful to
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Here Wilde evokes Herod’s hesitat
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101 Sphinx, Herodias, Salammbô, He
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103 beauty, possess the autonomy of
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105 The macabre and sinister aspect
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centers. Wagner’s imagination is
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109 annihilate the boundaries betwe
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111 The emphasis upon the withdrawa
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113 rebours Huysmans describes More
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they see the sun. I have sapphires
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117 symbolic network, evokes some o
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De la musique avant toute chose, Et
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necessary…or is a vital part of t
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123 The figure of Narcissus suggest
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125 claimed that dandies possessed
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l’extase, il voit resplendir les
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129 Khnopff’s pastel ˝Le Silence
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Byzantine flowers of thought and de
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133 I quote this at length because
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The self-absorption of the individu
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137 much of which was translated in
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139 means of self-analysis through
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141 Redon’s ˝horrific realms of
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143 spectator’s own ˝imaginative
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145 The manifestation of an unconsc
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147 leaning towards a denial of the
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149 palace becomes a quest into his
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ses caves oubliées, reliant ses ce
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153 Huysmans does not attempt any d
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155 dreams and altered states, and
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157 eager to explore. Drugs had the
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159 Wilde’s and Huysmans’ inter
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161 Both Wilde’s and Huysmans’
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163 wrote in a letter (to Mrs. Allh
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style, just as the earth suspended
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Adonis, and across the veined sardo
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il a repris les mythes éculés par
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171 the end result is entirely herm
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173 recognition, nor to the faculty
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175 form, and compositional arrange
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the black figure-placed there becau
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179 suggested the breakdown of barr
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une rêverie essentielle et des par
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The painter, Du Jardin continues, w
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185 and these forms are expressed
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187 life.˝ 491 Of course, as a gen
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189 the will. Thus Schopenhauer pos
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191 of the bronze of the image of t
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193 also subsume his work. In Inten
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195 Manifestly then, a relativistic
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197 remain in our minds, partially
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199 and self-conscious use of detai
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…dans la morne rue, le souvenir
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…never before, in any period, had
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‘I should like,’ said Oscar thr
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upon which Salome’s feet could mo
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awakens a corresponding physical se
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211 in his overall denunciation of
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213 of defiance in the face of publ
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215 or bodies depicted. These trait
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L’art c’est le vice. On ne l’
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219 beauty, the idea of beauty beca
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221 Huysmans, but claimed in one of
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easons, by far the greater part of
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225 but despite the studiously prov
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Nulle individualité chez la plupar
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229 the initiate˝ by ˝stereotyped
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231 the subjects Bresdin chose ofte
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233 creating a union of idealism an
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illiance, to indicate a creature or
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237 lion, although in Wilde’s poe
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239 attributes as well as to decade
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241 importance of the arts while co
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243 for both complexity and the exp
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BIBLIOGRAPHY Aslin, Elizabeth. The
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271 --- Language and Decadence in t
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273 --- Down There. Trans. Keene Wa
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275 Poe, Edgar Allan. Tales by Poe.
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277 ---. Oeuvres en prose completes
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NOTES Introduction 1 Vyvyan Holland
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48 Ibid., p. 1031. 49 Ibid., p. 461
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91 Ibid., p. 32. 92 Ibid. 285 93 Ph
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142 Ibid., p. 975. 143 Ibid., p. 10
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289 192 Charles Baudelaire, Oeuvres
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291 241 J. Barbey D’Aurevilly, Oe
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287 Ibid. 293 288 J. E. Circlot, A
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331 Huysmans, Certains, p. 72. 295
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379 Ibid. 380 Huysmans, Certains, p
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431 The Complete Works of Oscar Wil
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480 Chipp, p. 94. 301 481 John Rewa
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530 Jullian, Oscar Wilde, p. 215. 5
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582 Huysmans, Against Nature, p. 72