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The Aesthetic and Decadent Movement of the late 19th century spawned the idea of "Art for Art's Sake," challenged aesthetic standards and shocked the bourgeosie. From Walter Pater's study, "The Renaissance to Salome, the truly decadent collaboration between Oscar Wilde and Aubrey Beardsley, Karl Beckson has chosen a full spectrum of works that chronicle the British artistic achievement of the 1890s. In this revised edition of a classic anthology, "The Ballad of Reading Gaol" has been included in its entirety; the bibliography has been completely updated; Professor Beckson's notes and commentary have been expanded from the first edition published in 1966. The so-called Decadent or Aesthetic period remains one of the most interesting in the history of the arts. The poetry and prose of such writers as Yeats, Wilde, Symons, Johnson, Dowson, Barlas, Pater and others are included in this collection, along with sixteen of Aubrey Beardsley's drawings.
The poems collected in this volume are expressions of a spirit of self-indulgence, eroticism and moral rebelliousness that emerged in the late Victorian age. They deal with eternal themes of transition, artifice and the ravages of time. It presents the works of writers as Oscar Wilde, Arthur Symons, Rosamund Marriott Watson, and W B Yeats.
During the last decades of the nineteenth century, Charles Darwin, Thomas Henry Huxley, Walter Pater and others changed the nature of thought concerning the human body and the physical environment that had shaped it. In response, the 1890s saw the publication of a series of remarkable literary works that had their genesis in the intense scientific and aesthetic activity of those preceding decades—texts that emphasized themes of degeneration and were themselves stylistically decompositive, with language both a surrogate for physical deformity and a source of anxiety. Susan J. Navarette examines the ways in which scientific and cultural concerns of late nineteenth-century England are coded in the horror literature of the period. By contextualizing the structural, stylistic, and thematic systems developed by writers seeking to reenact textually the entropic forces they perceived in the natural world, Navarette reconstructs the late Victorian mentalité. She analyzes aesthetic responses to trends in contemporary science and explores horror writers' use of scientific methodologies to support their perception that a long-awaited period of cultural decline had begun. In her analysis of the classics Turn of the Screw and Heart of Darkness, Navarette shows how James and Conrad made artistic use of earlier "scientific" readings of the body. She also considers works by lesser-known authors Walter de la Mare, Vernon Lee, and Arthur Machen, who produced fin de siècle stories that took the form of "hybrid literary monstrosities." To underscore the fascination with bodily decay and deformation that these writers explored, The Shape of Fear is enhanced with prints and line drawings by Victor Hugo, James Ensor, and other artists of the day. This elegantly written book formulates a new canon of late Victorian fiction that will intrigue scholars of literature and cultural history.
A reconsideration of Chinese decadent (tuifei) poetry which argues that this poetry is not a marginal trend but rather a vital part of the Chinese literary tradition.
The Eighteen Nineties have become legendary: the period of Wilde, Beardsley and the Yellow Book; a decadent twilight at the close of the Victorian century, when young poets--weary of life--sat about drinking absinthe and talking of strange sins. The provenance of this beguiling picture is peculiar, for the myth of the Decadent Nineties was created during the period itself. It was an age of artistic self-consciousness, during which writers and painters believed that they had to create not only their works but also their personalities. In Passionate Attitudes, Matthew Sturgis examines the varying extents to which ambitious poets, penurious painters, canny publishers and a controversialist press all conspired to promote the notion of decadence. He explores in detail the cataclysmic effect upon English decadence of the spectacular trial and subsequent conviction of Wilde in 1895, a fall which was to cast a blight over the whole generation. As well as the luminaries Wilde, Beardsley and Beerbohm, Sturgis portrays Arthur Symons, the poet of the music halls, who divided his energies between promoting Verlaine and chasing after chorus girls; Ernest Dowson, the demoralized romantic of the Rhymers Club; Count Erik Stenbock, who kept a snake up his sleeve and went mad; and John Gray, who may have been the model for Wilde's Dorian. John Lane published most of their books; Owen Seaman and Ada Leverson parodied their manners. Elegantly written, Passionate Attitudes provides a hugely informative and richly entertaining account of the zeitgeist behind the glorious decade of excess.