The Romantic Agony
From The Art and Popular Culture Encyclopedia
"There is a suggestion by Mario Praz in The Romantic Agony that what Blake, De Sade, Nietzsche, Swinburne, Dostoyevsky, Gide, essentially have in common is that they were all sadists, sadism being at best a mere psychological quirk of certain personalities. But then it could well be that the kind of temperament here labelled 'sadistic' is the best equipped for the kind of insight that is at issue." --Introduction to Nietzsche, John S. Moore, 1974
Romantic Agony is a book of literary history by Italian scholar Mario Praz. First published in Italy as La carne, la morte, e il diavolo nella letteratura romantica in 1930, it is his best-known work. It is a comprehensive survey of the erotic (Romantic) and morbid (agony) themes that characterized European literature of the late 18th and 19th centuries.
Praz's study is concerned with romantic and decadent responses to modernism, a certain psychopathological sensibility in nineteenth century literature. Praz codifies the deviant bourgeois imagination in search of the frisson; sex, horror, the supernatural, making this one of the earliest works of thematic literary criticism of Western literature. The chapter titles are "the beauty of the Medusa, metamorphoses of Satan, the shadow of the divine marquis, la belle dame sans merci, Byzantium, Swinburne and 'le vice anglais'.
Its Italian title literally translates to English as Flesh, Death, and the Devil in Romantic Literature, but the book was published in 1933 as The Romantic Agony (translation by?). The preface to the first English edition defines this as "a study of certain states of mind and peculiarities of behavior, which are given a definite direction by various types and themes that recur as insistently as myths engendered in the ferment of blood" (p. vii).
- There is a suggestion by Mario Praz in The Romantic Agony that what Blake, De Sade, Nietzsche, Swinburne, Dostoyevsky, Gide, essentially have in common is that they were all sadists, sadism being at best a mere psychological quirk of certain personalities. But then it could well be that the kind of temperament here labelled 'sadistic' is the best equipped for the kind of insight that is at issue. --Introduction to Nietzsche, John S. Moore, 1974
Table of Contents
The introduction is largely concerned with tracing the roots of the romantic sensibility and of the terms and romantic and romantique in English and French. Much like Todorov des in the first chapter of The Fantastic, this is a genre-theoretical delineation of its subject matter. It places Sade as a forerunner to the romantics. It also puts forward the romantic-classic antithesis by Benedetto Croce, and it mentions notions such as the picturesque, although it does not seem to mention the connected sublime.
Chapter I, “The Beauty of the Medusa,” 23-52;
Chapter I traces the roots of the pleasure-and-pain and beauty-and-death conceptual combinations, pointing to such essays as On the Pleasure Derived from Objects of Terror and An Inquiry into those Kinds of Distress which Excite Agreeable Sensations by Anna Laetitia Aikin; "On Objects of Terror" by Nathan Drake and "Ode to Fear" by William Collins and other works of Gothic theory.
Chapter II, “The Metamorphoses of Satan,” 53-94;
Chapter II "traces the metamorphosis of the satan of Tasso, Marino and John Milton as a literary figure into the "fatal man" of the romantics - the Byronic hero, the male vampire, the criminal erotic." --Howard Mumford Jones, Modern Language Notes, Vol. 51, No. 6 (Jun., 1936)
Chapter III, “The Shadow of the Divine Marquis,” 95-197.
Chapter III is by far the largest chapter and its protagonist is the Marquis de Sade. Here, Praz "enters into an elaborate argument to show that this tendency towards delight in criminal and sexual suffering the novels of the Marquis de Sade gave a special impetus, since, to the type of the fatal man, the romantics added the type of persecuted woman, and under the spell of their admiration for Justine and its companion works, found a special delight in erotic pain." --Howard Mumford Jones, Modern Language Notes, Vol. 51, No. 6 (Jun., 1936)
In chapter III, Praz also marks the fault line between Romanticism and Decadence:
"Baudelaire and Flaubert are like the two faces of a Herm planted firmly in the middle of the century, marking the division between Romanticism and Decadence, between the period of the Fatal Man and that of the Fatal Woman, between the period of Delacroix and that of Moreau."
The type of the persecuted woman
Les liaisons dangereuses
Marquis de Sade
Restif de la Bretonne
Diffusion of the persecuted woman theme
- Damsel_in_distress#The_18th_and_19th_centuries, Intertextuality between The Monk and Clarissa, User:Jahsonic/shift in 19th century culture from the persecuted maiden to the femme fatale
Tales of terror
The Dead Donkey
The Devil's Memoirs
Baudelaire's literary roots
Chapter IV, “La Belle Dame Sans Merci,” 199-300;
The title of this chapter refers to the concept of the fatal woman. Praz notes that "The male, who at first tends towards sadism, inclines, at the end of the century, towards masochism." 19th century art had indeed a predilection for imagery of captive females (damsel in distress, persecuted maiden).
The femme fatale archetype exists in the history, folklore and myth of nearly every culture in every century. Ancient mythical, legendary and historical archetypes include Lilith, Delilah, Salome and Jezebel, the Sirens, the Sphinx, Scylla, Clytemnestra and Cleopatra, Queen of Egypt.
Chapter V, “Byzantium,” 303-434;
On the last phase of decadence, which professor Praz appropriately calls "Byzantium," ...
Appendix, “Swinburne and ‘Le Vice Anglais,” 437-457.
Praz traces the literary trope of the sadistic Englishman in French and Italian literature to George Selwyn, Frederick Hankey and Algernon Swinburne. He finds this stereotype in the novels La Faustin by Edmond de Goncourt, Il Piacere by Gabriele d'Annunzio and Monsieur du Paur by Paul-Jean Toulet.
"Baudelaire en vers et Flaubert en prose"
- "Baudelaire en vers et Flaubert en prose" said Péladan in 1885: the analogy could not be juster and is today taken for granted. Baudelaire and Flaubert are like the two faces of a Herm planted firmly in the middle of the century, marking the division between Romanticism and Decadence, between the period of the Fatal Man and that of the Fatal Woman, between the period of Delacroix and that of Moreau.
A character of Peladan's invention says this in Curieuse!.
On Delacroix, the Romantic, and Moreau, the decadent
- "Delacroix, as a painter, was fiery and dramatic; Gustave Moreau strove to be cold and static. The former painted gestures, the latter attitudes. Although far apart in artistic merit (after all, Delacroix in his best work is a great painter), they are highly representative of the moral atmosphere of the two periods in which they flourised -- of Romanticism, with its fury of frenzied action, and of Decadence, with its sterile contemplation. The subject-matter is almost the same -- voluptuous, gory exoticism. But Delacroix lives inside his subject, whereas Moreau worships his from outside, with the result that the first is a paniter, the second a decorator."
In a Note to the Second Edition of The Romantic Agony, Praz complains that Lewis in Men without Art calls his compilation a "gigantic pile of satanic bric-a-brac" and that Montague Summers in his Gothic Quest dismissed it as "disjointed gimcrack."
Review by Janine C. Hartman
In 1933  Praz produced this impressionistic and encyclopedic study of romantic or decadent responses to modernity, titled, in Italian, La carne, la morte, e il diavolo nella letteratura romantica. The preface to the first English edition defines this as "a study of certain states of mind and peculiarities of behavior, which are given a definite direction by various types and themes that recur as insistently as myths engendered in the ferment of blood" (p. vii). This book traced patterns of consciousness in nineteenth century and Renaissance sensibilities. Praz codified the deviant bourgeois imagination in search of the frisson; sex, horror, the supernatural, in chapters with evocative formulations: "the beauty of the Medusa, metamorphoses of Satan, la belle dame sans merci, Byzantium, Swinburne and 'le vice anglais." But most importantly, this study of poetry, plays and novels falls under "the shadow of the divine marquis"-the marquis de Sade. Though deploring the infant Sade publishing industry, then under the aegis of French Surrealism, Praz accepts Sade as the mythmaker of the educated erotic sensibility, the imaginative grotesquerie, the advocate of pain for aesthetic appreciation of all experience. --Reviewed by: Janine C. Hartman , Humanities and Social Sciences, University of Cincinnati. Published by: H-Ideas (August, 2000), http://www.h-net.org/reviews/showrev.cgi?path=26206966636723 [Jan 2005]
Review by Jerome J. McGann
In the introductory chapter of his famous study, The Romantic Agony, "The Beauty of the Medusa," Mario Praz lays the foundations for the entire work that follows--a learned and demonstrative complaint against the radically aberrant quality of much Romantic art. Praz is a compelling critic of his subject, not because his moral judgments are the same as Eliot's (though they are), but because his methodology--to collect and compare the images, themes and motifs which preoccupied Romantic minds--is both unimpeachable and highly suggestive. The genius of his book is in its categories, the chapter headings. --http://www.rc.umd.edu/editions/shelley/medusa/mcgann.html [Jan 2005]
Themes and tropes
algolagnia - androgyny - bloodshed - decadence - decadent movement - exoticism - femme fatale - fatal man - the French "frenetic" school - incest - lesbianism - masochism - necrophilia - persecuted maiden - perversion - picturesqe - rebel type - romanticism - sadism - Salome - satan - sex in literature - terror - vampirism
Gabriele D'Annunzio - Jules Barbey d'Aurevilly - Honoré de Balzac - Maurice Barrès - Charles Baudelaire - Aubrey Beardsley - Petrus Borel - Jules Barbey d'Aurevilly - Restif de la Bretonne - Byron - Jacques Cazotte - Chateaubriand - Delacroix - de Quincey - Diderot - Dostoevsky - Alexandre Dumas, père - Flaubert - Gautier - Goethe - Goncourt - Gourmont - Heine - Victor Hugo - J. K. Huysmans - Villiers de l'Isle-Adam - Janin - Keats - Laclos - Lautréamont - Lewis - Claude Lorrain - Pierre Louÿs - Maeterlinck - Maturin - John Milton - Octave Mirbeau - Gustave Moreau - Musset - Charles Nodier - Walter Pater - Péladan - Poe - Prévost - Rachilde - Ann Radcliffe - Samuel Richardson - Félicien Rops - Rossetti - Sade - Sainte Beuve - Schiller - Shelley, P. B. - Eugène Sue - Swinburne - Thérèse Philosophe - Richard Wagner - Oscar Wilde