Christa Giles

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CHAPTER 1 DANDYISM Le dandy suprême incarnation de l’idée du beau transportée dans la vie matérielle, celui qui dicte la forme et règle des manières What is eternal? What escapes decay? A certain faultless, matchless, deathless line, Curving consummate. Baudelaire A. O’Shaughnessy
The reverence for the artificial issued from the ˝decadent’s˝ desire to be more than natural–to triumph over the material. Baudelaire’s dandy would strive to create ˝une originalité˝ which was at the same time supposed to be ˝contenu˝ within the ˝limites extérieures des convenances.˝ 72 Originality, then, was a means whereby the dandy was able to transmute a life ˝terribly deficient in form˝ 73 into art. The dandy’s nobility, his superiority, could be gauged by the artificiality which he created or with which he surrounded himself. In this respect Wilde and Huysmans follow Baudelaire by maintaining (with the customary dandaical inversion) that ˝absolute materialism˝ is paradoxically ˝not far from the purest idealism.˝ 74 That is to say, a material form becomes the means of containing the original, the spiritual: In and of itself every idea is endowed with immortal life, just like a person. All forms, even those created by man, are immortal. Because form is independent of matter and it is not molecules that constitute form. 75 In Wilde’s view the artist was the master of form; and like the dandy he gains his inspiration from ˝the dominance of form.˝ 76 Beauty, then, was to be derived from form rather than content and the dandy was the logical embodiment of these ideas, being both self-created and a connoisseur of 35
Page 1: THE ARTIST, THE DEVIL AND THE DANDY
Page 4 and 5: Şos. Panduri 90-92, Bucureşti - 0
Page 7: TABLE OF CONTENTS INTRODUCTION ....
Page 10 and 11: 10 The cornerstone of Wilde’s and
Page 12 and 13: 12 he can only reproduce the fragme
Page 14 and 15: 14 Nature’s lack of design, her c
Page 16 and 17: 16 ˝imagination could provide a mo
Page 18 and 19: 18 to an English tavern, as to visi
Page 20 and 21: 20 different kind of beauty which w
Page 22 and 23: 22 Art which deals with vice and pe
Page 24 and 25: 24 the most perfect pleasure simply
Page 26 and 27: 26 Courtisane. In ˝The Decay of Ly
Page 28 and 29: 28 paintings at the Salon of 1889 e
Page 30 and 31: 30 singular hallucinations of the f
Page 32 and 33: 32 there is nothing really beautifu
Page 36 and 37: 36 beautiful things. Wilde’s most
Page 38 and 39: 38 toward the ideal in form and mor
Page 40 and 41: 40 to be obvious is to be inartisti
Page 42 and 43: 42 ˝Sorry to hear it, Tuppy; whene
Page 44 and 45: 44 Symons, too, often focusses on a
Page 46 and 47: 46 in art that the body is the soul
Page 48 and 49: 48 Lord Henry exclaims, ˝I love ac
Page 50 and 51: 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
Page 58 and 59: 58 the funeral, Pierrot gravely mee
Page 60 and 61: 60 Plusieurs de ses affiches l’at
Page 62 and 63: 62 often manifests evil. He is para
Page 64 and 65: 64 that there should be an observer
Page 66 and 67: 66 The very sharpness of the contra
Page 68 and 69: 68 enables man to best express his
Page 70 and 71: CHAPTER II SATANISM Certain attainm
Page 72 and 73: 72 entitled ˝La Révolte˝ (and in
Page 74 and 75: 74 (perversity, for example) are go
Page 76 and 77: 76 This concern with sin in both Wi
Page 78 and 79: 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,
Page 84 and 85:
84 satanism. In Les Diaboliques Bar
Page 86 and 87:
86 and the eternal pathos of the hu
Page 88 and 89:
88 the artist. The Manicheism evinc
Page 90 and 91:
90 ages that are being dealt with:
Page 92 and 93:
92 being suspended between two worl
Page 94 and 95:
94 feminine mystery. Moreau encapsu
Page 96 and 97:
96 play, Salomé is explicitly iden
Page 98 and 99:
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
Page 104 and 105:
104 her, but observes that this des
Page 106 and 107:
106 decadent predilection for the d
Page 108 and 109:
108 réfugier dans la pénitente ad
Page 110 and 111:
CHAPTER III DREAMS AND FANTASY Sugg
Page 112 and 113:
112 considered as a potential mothe
Page 114 and 115:
114 eternity in a moment. Huysmans
Page 116 and 117:
116 aux cimes des échalas, aux pie
Page 118 and 119:
118 Huysmans so admired entitled hi
Page 120 and 121:
120 Thematically, the dream enabled
Page 122 and 123:
122 as well as an affirmation of th
Page 124 and 125:
124 which no real voice has ever pi
Page 126 and 127:
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
Page 136 and 137:
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
Page 142 and 143:
142 creation of the self or the exp
Page 144 and 145:
144 Redon not only focussed on the
Page 146 and 147:
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 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 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 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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Christa Giles

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