Christa Giles

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TABLE OF CONTENTS INTRODUCTION ............................................................... 9 Chapter One: DANDYISM ............................................. 34 Chapter Two: SATANISM ............................................. 70 Chapter Three: DREAMS AND FANTASY .................. 110 Chapter Four: ART AND ARTISTS .............................. 160 Chapter Five: CONCLUSION ........................................ 240 NOTES ............................................................................. 244 BIBLIOGRAPHY ................................................................ 269 7
Page 1: THE ARTIST, THE DEVIL AND THE DANDY
Page 4 and 5: Şos. Panduri 90-92, Bucureşti - 0
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
Page 29 and 30: eal (the student in his room) and t
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
Page 39 and 40: concluded that the only reasonable
Page 41 and 42: nevertheless turned to them in orde
Page 43 and 44: through a series of ironic inversio
Page 45 and 46: well, and I take the former for gra
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
Page 53 and 54: modes of triviality and indifferenc
Page 55 and 56: Lord Darlington: Ah, don’t say th
Page 57 and 58:
intruder and it is revealed that be
Page 59 and 60:
or grotesque or lacking in style. .
Page 61 and 62:
mournful contemplation of things be
Page 63 and 64:
anqueroutes, d’un vieux juge tomb
Page 65 and 66:
of them without ever (as in Lord He
Page 67 and 68:
But, oh horror! on certain evenings
Page 69 and 70:
wilfulness and to affectation. Its
Page 71 and 72:
The idea of modernity in Wilde’s
Page 73 and 74:
with his criminal inclinations. Thu
Page 75 and 76:
Wilde’s and Huysmans’ interest
Page 77 and 78:
spiritual pole to pole. 212 Arthur
Page 79 and 80:
esplendent, that is all.˝ 222 In h
Page 81 and 82:
He has conjured up the devil once m
Page 83 and 84:
An obvious extension of this intere
Page 85 and 86:
sinister quality. When Basil Hallwa
Page 87 and 88:
Of course, sacrilege is a central c
Page 89 and 90:
ack to the prodigious sins of the f
Page 91 and 92:
essentially a symbolist work and, a
Page 93 and 94:
the feminine principle throughout t
Page 95 and 96:
supreme expression in the figure of
Page 97 and 98:
the feminine. It is also helpful to
Page 99 and 100:
Here Wilde evokes Herod’s hesitat
Page 101 and 102:
101 Sphinx, Herodias, Salammbô, He
Page 103 and 104:
103 beauty, possess the autonomy of
Page 105 and 106:
105 The macabre and sinister aspect
Page 107 and 108:
centers. Wagner’s imagination is
Page 109 and 110:
109 annihilate the boundaries betwe
Page 111 and 112:
111 The emphasis upon the withdrawa
Page 113 and 114:
113 rebours Huysmans describes More
Page 115 and 116:
they see the sun. I have sapphires
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117 symbolic network, evokes some o
Page 119 and 120:
De la musique avant toute chose, Et
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necessary…or is a vital part of t
Page 123 and 124:
123 The figure of Narcissus suggest
Page 125 and 126:
125 claimed that dandies possessed
Page 127 and 128:
l’extase, il voit resplendir les
Page 129 and 130:
129 Khnopff’s pastel ˝Le Silence
Page 131 and 132:
Byzantine flowers of thought and de
Page 133 and 134:
133 I quote this at length because
Page 135 and 136:
The self-absorption of the individu
Page 137 and 138:
137 much of which was translated in
Page 139 and 140:
139 means of self-analysis through
Page 141 and 142:
141 Redon’s ˝horrific realms of
Page 143 and 144:
143 spectator’s own ˝imaginative
Page 145 and 146:
145 The manifestation of an unconsc
Page 147 and 148:
147 leaning towards a denial of the
Page 149 and 150:
149 palace becomes a quest into his
Page 151 and 152:
ses caves oubliées, reliant ses ce
Page 153 and 154:
153 Huysmans does not attempt any d
Page 155 and 156:
155 dreams and altered states, and
Page 157 and 158:
157 eager to explore. Drugs had the
Page 159 and 160:
159 Wilde’s and Huysmans’ inter
Page 161 and 162:
161 Both Wilde’s and Huysmans’
Page 163 and 164:
163 wrote in a letter (to Mrs. Allh
Page 165 and 166:
style, just as the earth suspended
Page 167 and 168:
Adonis, and across the veined sardo
Page 169 and 170:
il a repris les mythes éculés par
Page 171 and 172:
171 the end result is entirely herm
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173 recognition, nor to the faculty
Page 175 and 176:
175 form, and compositional arrange
Page 177 and 178:
the black figure-placed there becau
Page 179 and 180:
179 suggested the breakdown of barr
Page 181 and 182:
une rêverie essentielle et des par
Page 183 and 184:
The painter, Du Jardin continues, w
Page 185 and 186:
185 and these forms are expressed
Page 187 and 188:
187 life.˝ 491 Of course, as a gen
Page 189 and 190:
189 the will. Thus Schopenhauer pos
Page 191 and 192:
191 of the bronze of the image of t
Page 193 and 194:
193 also subsume his work. In Inten
Page 195 and 196:
195 Manifestly then, a relativistic
Page 197 and 198:
197 remain in our minds, partially
Page 199 and 200:
199 and self-conscious use of detai
Page 201 and 202:
…dans la morne rue, le souvenir
Page 203 and 204:
…never before, in any period, had
Page 205 and 206:
‘I should like,’ said Oscar thr
Page 207 and 208:
upon which Salome’s feet could mo
Page 209 and 210:
awakens a corresponding physical se
Page 211 and 212:
211 in his overall denunciation of
Page 213 and 214:
213 of defiance in the face of publ
Page 215 and 216:
215 or bodies depicted. These trait
Page 217 and 218:
L’art c’est le vice. On ne l’
Page 219 and 220:
219 beauty, the idea of beauty beca
Page 221 and 222:
221 Huysmans, but claimed in one of
Page 223 and 224:
easons, by far the greater part of
Page 225 and 226:
225 but despite the studiously prov
Page 227 and 228:
Nulle individualité chez la plupar
Page 229 and 230:
229 the initiate˝ by ˝stereotyped
Page 231 and 232:
231 the subjects Bresdin chose ofte
Page 233 and 234:
233 creating a union of idealism an
Page 235 and 236:
illiance, to indicate a creature or
Page 237 and 238:
237 lion, although in Wilde’s poe
Page 239 and 240:
239 attributes as well as to decade
Page 241 and 242:
241 importance of the arts while co
Page 243 and 244:
243 for both complexity and the exp
Page 245 and 246:
BIBLIOGRAPHY Aslin, Elizabeth. The
Page 247 and 248:
271 --- Language and Decadence in t
Page 249 and 250:
273 --- Down There. Trans. Keene Wa
Page 251 and 252:
275 Poe, Edgar Allan. Tales by Poe.
Page 253 and 254:
277 ---. Oeuvres en prose completes
Page 257 and 258:
NOTES Introduction 1 Vyvyan Holland
Page 259 and 260:
48 Ibid., p. 1031. 49 Ibid., p. 461
Page 261 and 262:
91 Ibid., p. 32. 92 Ibid. 285 93 Ph
Page 263 and 264:
142 Ibid., p. 975. 143 Ibid., p. 10
Page 265 and 266:
289 192 Charles Baudelaire, Oeuvres
Page 267 and 268:
291 241 J. Barbey D’Aurevilly, Oe
Page 269 and 270:
287 Ibid. 293 288 J. E. Circlot, A
Page 271 and 272:
331 Huysmans, Certains, p. 72. 295
Page 273 and 274:
379 Ibid. 380 Huysmans, Certains, p
Page 275 and 276:
431 The Complete Works of Oscar Wil
Page 277 and 278:
480 Chipp, p. 94. 301 481 John Rewa
Page 279 and 280:
530 Jullian, Oscar Wilde, p. 215. 5
Page 281:
582 Huysmans, Against Nature, p. 72
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Christa Giles

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