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	== Symons on Huysmans' style ==		== Symons on Huysmans' style ==
-	Barbaric in its profusion, violent in its emphasis, wearying in its splendor, it is - especially in regard to things seen - extraordinarily expressive, with all the shades of a painter's palette. Elaborately and deliberately perverse, it is in its very perversity that Huysmans' work - so fascinating, so repellent, so instinctively artificial - comes to represent, as the work of no other writer can be said to do, the main tendencies, the chief results, of the Decadent movement in literature. (Arthur Symons, "The Decadent Movement in Literature", 1993)	+	Barbaric in its profusion, violent in its emphasis, wearying in its [[splendor]], it is - especially in regard to things seen - extraordinarily expressive, with all the shades of a painter's palette. Elaborately and deliberately perverse, it is in its very [[perversity]] that Huysmans' work - so [[fascinating]], so [[repellent]], so instinctively artificial - comes to represent, as the work of no other writer can be said to do, the main tendencies, the chief results, of the Decadent movement in literature. (Arthur Symons, "The Decadent Movement in Literature", 1893)
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The Symbolist Movement in Literature by Arthur Symons, is a work of literary criticism first published in 1899. The book was originally known as The Decadent Movement in Literature. Symons had previously published an essay entitled "The Decadent Movement in Literature" in Harper's New Monthly Magazine in 1893.

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Gérard de Nerval; Auguste Villiers de l'Isle-Adam; Arthur Rimbaud; Paul Verlaine; Jules Laforgue; Stéphane Mallarmé; Huysmans; Maeterlinck.

Essays by: Balzac; Prosper Merimée; Théophile Gautier; Gustave Flaubert; Charles Baudelaire; Edmond and Jules de Goncourt; Leon Cladel; A Note on Zola's Method.

Symons on Huysmans' style

Barbaric in its profusion, violent in its emphasis, wearying in its splendor, it is - especially in regard to things seen - extraordinarily expressive, with all the shades of a painter's palette. Elaborately and deliberately perverse, it is in its very perversity that Huysmans' work - so fascinating, so repellent, so instinctively artificial - comes to represent, as the work of no other writer can be said to do, the main tendencies, the chief results, of the Decadent movement in literature. (Arthur Symons, "The Decadent Movement in Literature", 1893)