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Aesthetes and Decadents of the 1890s: An Anthology of

The classy and Decadent flow of the overdue nineteenth century spawned the belief of "Art for Art's Sake," challenged aesthetic criteria and surprised the bourgeosie. From Walter Pater's research, "The Renaissance to Salome, the really decadent collaboration among Oscar Wilde and Aubrey Beardsley, Karl Beckson has selected a whole spectrum of works that chronicle the British creative success of the Eighteen Nineties. during this revised version of a vintage anthology, "The Ballad of analyzing Gaol" has been integrated in its entirety; the bibliography has been thoroughly up to date; Professor Beckson's notes and observation were extended from the 1st version released in 1966. The so-called Decadent or Aesthetic interval is still the most fascinating within the heritage of the humanities. The poetry and prose of such writers as Yeats, Wilde, Symons, Johnson, Dowson, Barlas, Pater and others are integrated during this assortment, in addition to 16 of Aubrey Beardsley's drawings.

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Extra resources for Aesthetes and Decadents of the 1890s: An Anthology of British Poetry and Prose (Revised Edition)

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In one of the strangest turns in literary history, Hardy at the age of fifty-five turned to poetry, which he continued to write until his death in 1928 at the age of eighty-eight. In letters to close friends he pretends a somewhat jaunty indifference to the negative response to Jude, but in an essay entitled 舠The Profitable Reading of Fiction,舡 which appeared in the journal Forum in 1888, Hardy舗s defensiveness about readers suggests the effect the reception of his novel would have upon him:A novel which does moral injury to a dozen imbeciles, and has bracing results upon a thousand intellects of normal vigor, can justify its existence....

Jude舗s decision to kill the pig swiftly, rather than let it bleed slowly to death to ensure a higher-quality meat, puts him at odds with Arabella, who unsentimentally declares, 舠Pigs must be killed舡 and later, 舠Poor folks must live舡 (pp. 66, 67). The tragedy of consciousness that plagues Jude is behind most of his failures, from his difficulty in walking so as not to kill earthworms to his inability as a working-class man to become a scholar at Christminster. The tragedy of the contemporary everyday man, the novel seems to suggest, would also partake of a tragedy of restlessness.

Page 71) Weary and mud-bespattered, but quite possessed of his ordinary clearness of brain, he sat down by the well, thinking as he did so what a poor Christ he made. (page 128) She looked into his eyes with her own tearful ones, and her lips suddenly parted as if she were going to avow something. But she went on; and whatever she had meant to say remained unspoken. (page 180) He knew he should go to see her again, according to her invitation. Those earnest men he read of, the saints, whom Sue, with gentle irreverence, called his demi-gods, would have shunned such encounters if they doubted their own strength.

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