Christa Giles

of the dandy, is in fact a creation of values which differ
from those of society. For the dandy holds that to accept
˝the standard of the age˝ would be a form of ˝the grossest
immorality.˝ 122 In his creation of the self the dandy adopts
a role on ˝the stage of the world.˝ 123 In contrast with Wilde,
Huysmans’ dandies wear their clothes less as a theatrical
costume and more as a barely perceptible sign of inner
superiority. Naturally, only the initiated can perceive this
superiority on the strength of their apparel. Further, the
emphasis in Huysmans’ novel is less upon the outward
signs than upon the inner workings of the dandy’s mind.
Indeed Huysmans’ dandy’s perception–that of the
analytical detached observer–is the essence of dandyism.
In both Wilde’s and Huysmans’ work the dandy is
supremely intelligent, conscious of the implications and
effects of his own actions. But in Wilde’s work the adoption
of the role becomes imbued with symbolic significance.
When Durtal in Là-bas agonizes over ‘his mania for
thinking, thinking…his heart was dead and could not be
revived,˝ 124 we are reminded of Lord Henry’s encapsulation
of the dandaical mentality. ˝If a man treats life artistically,˝
Lord Henry asserts, ˝his brain is his heart.˝ 125 However,
Wilde, unlike Huysmans, rather than showing the
cerebrations of the dandy uses his adoption of a role as a
symbol for the ˝return of art to life.˝ It is for this reason that
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