The Romantic Agony  

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"J'ai trouvé la définition du Beau, de mon Beau. ... Je ne conçois guère un type de Beauté où il n'y ait du Malheur" (Charles Baudelaire, Journaux Intimes), epigraph to The Romantic Agony


"The aim of the greater part of this book is a study of Romantic literature (of which the Decadent Movement of the end of the last century is only a development) under one of its most characteristic aspects, that of erotic sensibility. It is, therefore, a study of certain states of mind and peculiarities of behaviour, which are given a definite direction by various types and themes that recur as insistently as myths engendered in the ferment of the blood."--The Romantic Agony (1930) by Mario Praz, foreword to the first edition


"The conclusions of the present study will prove, even to those who are least well-informed, that [[Marquis de Sade|Sade’s work is a monument — not indeed, as Guillaume Apollinaire was pleased to declare, ‘de la pensée humaine’ — but at least of something."--The Romantic Agony (1930) by Mario Praz, p. 207


"The exotic and the erotic ideals go hand in hand, and this fact also contributes another proof of a more or less obvious truth - that is, that a love of the exotic is usually an imaginative projection of a sexual desire. "--The Romantic Agony (1930) by Mario Praz, p. 207


"A student who undertakes such a discussion runs a risk of being classed with a band of writers who have made their name by a professedly scientific treatment of such subjects, such as Dr. Dühren (Ivan Bloch) or Max Nordau. Nordau’s volume on Degeneration aims at being a literary nosology of the Decadent Movement, but it is completely discredited by its pseudo-erudition, its grossly positivist point of view, and its insincere moral tone. A writer who, adopting the method of Lombroso, classifies a degenerate tram-conductor with Verlaine, and places Rossetti among the weak-minded (or even the imbecile, as he delicately hints in parenthesis) as described by Sollier, seems hardly capable of tracing the hidden sources of Decadent ‘degeneration’."--The Romantic Agony (1930) by Mario Praz


"Let us give Sade his due, as having been the first to expose, in all its crudity, the mechanism of homo sensualis, let us even assign him a place of honour as a psychopathologist and admit his influence on a whole century of literature; but courage (to give a nobler name to what most people would call shamelessness) does not suffice to give originality to a thought, nor does the hurried jotting down of all the cruel fantasies which obsess the mind suffice to give a work mastery of style…The most elementary qualities of a writer – let us not say, of a writer of genius – are lacking in Sade." --The Romantic Agony (1930) by Mario Praz, unidentified English introduction


"Certain conformities of thought between Blake and Sade, between Dostoievsky and Nietzsche and Blake, derive from the fact that these writers were all, in greater or lesser degree, sadists. This accounts for the discovery of a twin mind—of Swinburne in Sade, of D'Annunzio in Swinburne and Nietzsche, of Gide in Nietzsche, Dostoievsky and Blake."--The Romantic Agony (1930) by Mario Praz

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The Romantic Agony (1930, Italian original title: La carne, la morte, e il diavolo nella letteratura romantica) is a book of literary history by Italian scholar Mario Praz, his best-known work. It is a comprehensive survey of the erotic and morbid 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. 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).

On the cover of the Oxford 1970 edition is Memling's Earthly Vanity and Divine Salvation (1480s).

Philippe Jullian's Dreamers of Decadence (1969) does for the visual arts what Mario Praz does for literature.

Contents

Table of Contents

Author's preface to the first English edition, xv-xxiii

In his preface to the first English edition of 1933, Mario Praz writes: "In no other literary period [the nineteenth century], I think, has sex been so obviously the mainspring of works of imagination."

"Looked at from this point of view, the literature of the nineteenth century appears as a unique, clearly distinct whole, which the various formulas such as ‘romanticism', ‘realism’, ‘decadence,’ &c., tend to disrupt. In no other literary period, I think, has sex been so obviously the mainspring of works of imagination."--p.xv

Introduction, 1-22

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.

"Was Sade a "surromantique" ? No, but he was certainly a sinister force in the Romantic Movement, a familiar spirit whispering in the ear of the "mauvais maîtres" and the "poètes maudits"; actually he did nothing more than give a name to an impulse which exists in every man, an impulse mysterious as the very forces of life and death with which it is inextricably connected."
"What could be more obvious than the attempt to trace the sources of the aberrations of a period to a metaphysical crisis? As an example of this, it will be remembered that literary historians, wishing to account for the rise in England of that peculiar poetical current which started with John Donne, attributed it to the collapse of the medieval conception of the world beneath the reiterated blows of newly-acquired knowledge, with the undermining of dogmas which resulted."

On "certain currents of the Decadent period":

"In France, for example: Bernanos, Sous le soleil de Satan, Kessel, Belle de Jour; Carco, Perversité; Lenormand, La vie secrète; Jouve, Paulina 1880, La Scène capitale; Milosz, L'Amoureuse Initiation; Genet, Querelle de Brest; for Germany, Ernst Jünger, Auf den Marmorklippen."

Chapter I, “The Beauty of the Medusa,” 23-52

Medusa

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.

Marquis de Sade

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

persecuted woman

Clarissa Harlowe

Clarissa Harlowe

La Religieuse

La Religieuse

Therese Philosophe

Therese Philosophe

Les liaisons dangereuses

Les liaisons dangereuses

Marquis de Sade

Marquis de Sade

Restif de la Bretonne

Restif de la Bretonne

Chateaubriand

Chateaubriand

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

Praz takes as his archetypes Gretchen of Goethe's Faust, Justine of Sade, Antonia and Agnes of The Monk. They were all "born" in the space of two years.

The Monk

The Monk

Radcliffe

Radcliffe

Female writers

Female writers

Beatrice Cenci

The Cenci: A Tragedy in Five Acts

Melmoth

Melmoth

Tales of terror

horror fiction

The Dead Donkey

The Dead Donkey

The Devil's Memoirs

The Devil's Memoirs

Pétrus Borel

Pétrus Borel

Baudelaire's literary roots

Baudelaire

Delacroix

Delacroix

Baudelaire

Baudelaire

In a subchapter titled "the erotology of Baudelaire" Praz mentions guesses about Baudelaire's impotence:

"[The] case of Baudelaire's exotic exclusiveness will be understood, and of his strange conduct towards Madame Sabatier, and it can be why so many people give credit to the rumour reported by Nadar. (Baudelair's impotence, generally admitted in this case, is denied by Flottes.)"

Flaubert

Flaubert

Lautréamont

Lautréamont

Chapter IV, “La Belle Dame Sans Merci,” 199-300

The title of this chapter refers to the concept of the femme fatale. 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).

"La Belle Dame sans Merci" is also the title of a poem by John Keats and a painting by Frank Cadogan Cowper (1877–1958), a British artist, described as "The last of the Pre-Raphaelites".

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.

See also: shift from damsel in distress to femme fatale

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.

le vice anglais

On George Selwyn, Swinburne, Hankey and Wilde and the British predilection for sadomasochism and the archtetype of the sadistic Englishman.

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.

See British erotica and The Maiden Tribute of Modern Babylon

"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."

Reviews

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 [1930] 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

Protagonists

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

Translations

Dutch translation

  • Lust, dood en duivel in de literatuur van de Romantiek

Index

INDEX | Abercrombie, L., on Romanticism, | i8 xiM, 437 | Accoramboni, V., 190, 327 | Achillini, C., his Bellissima Spiritcaay | 37, 39; his Bellissima Mendtca^ 40, | 41 | Adam, P., 3175 and Byzantium, 384-5 | Adimari, A., 3; and the beauty of | defects, 36, 38, 39, 41, 48 n.^Sj and | negresses, 44 | Adulteresses, sonnets on, 252-3 | Aeschylus, 55, 272 n.*; and the Fatal | Woman, 189, 190 | Aestheticism, and the Fatal Woman, | 200; and female beauty, 202-35 | the exotic, 203 | Agoult, Mme d’, on the Princess Bel- | giojoso, 122 | Aikin, J. and A. L., and the pleasure | from Terror, 27 | Alcibiades, 355, 460 | Aleman, 35 not a Romantic, 4 | Aldington, R., 474 | Algolagnia, 47 1545 in Cleopatra, | 2055 Swinburne and, 215, 216, 221, | 2265 in Rossetti, 2185 in D’Annun- | zio, 258 5 in the Decadents, 307, 308, | 351; in Schwob, 3565 in Barr^s, | 3635 in England, 415 et seq. | Alison, A., 20 | Allan, Frances, 438 | Allori, C., 322, 464 | Althea, 189 | Amadis de Gaule, the ‘noble bandit* | and, 83 n.*7 | Amestris, 230, 240 | Ampfere, A. M., i | Ancient world, nostalgia for, in Gau- | tier, 203-45 in Stendhal, 274n.*®5 as | a source of the Fatal Woman, 206, | 212, 2305 the Decadents and, 383 | Androgyne, the, 175 n.*% 206, 4645 | Moreau and, 2915 P 61 adan and, | 320-65 the Decadent Movement | and, 332, 336, 397n.^55 Rachilde | and, 332-55 Pater and, 341-25 | Vivien and, 3745 Colette and, | 397 n,®4. Lorrain and, 402 nn.®3»®‘^5 | see also Hermaphroditism | Anet, C., his Artane, 199 | Angeli, Diego, 476 | Angiolieri, C., 5 | Annunzio, G. d’, 6, 46 n.“, 282 n ^2, | 342, 396 n «o, 405 4<5 i, 4 < 53 ~ 4 > | 4695 jjnd the relationship between | l^auty and Death, 31-25 and the | Medusa-Gioconda smile, 50 n.^5 | and the regenerated prostitute, 1095 | his debt to Flaubert, 180 n * 56 ^ 2525 | and the Fatal Woman, 200, 248, | 251-5; and Swinburne, 228, 249, | 259, 262, 263, 278 n.s®, 279 n. 59 , | 283 n.*<^3-284 n.i®®; as a sadist, 254- | 5, 264-7, 284 n.“*, 285n.”^5 his | ‘libido*, 2555 his obsession with | bloodshed, 256-8, 2715 his plagiar- | ism, 259-62, 283 n 5 and the | tragic poets, 280 n.soj and Moreau, | 2965 influenced by Huysmans, 3095 | and Peladan, 318 5 his influence, 349, | 3515 Barr^s compared with, 3655 | and Byzantium, 3845 the chief figure | of the Decadent Movement, 385-95 | as a barbarian, 387, 411 n.i®<^5 his | first models, 387-85 his humour, | 3885 compared with Hugo, 3885 | and the Vittoriale, 388-95 and art | and music, 390 n. 3 ; and English | libertinism, 422-3; and the Gon- | courts* Journal y 424, 431 nn.^* *3 | Antal, F., 435 | Anthology (Greek), 192 | Antigonus Carystius, 4 | Antinous, 314, 346, 379, 426, 4645 | the Androgyne and, 322, 334 | Apollinaire, G., ix, 478 | Apuleius, 405 n .*03 | Arabian Nights, 118, 203, 401 n^^, | 477 | Araldi, A., 399 n.^^ | Aretino, x | Ariosto, L., i | Arlt, G. O., 170 n. 3 ^ | Arnaud, Baculard d*, on the taste for | the Horrid, 46 n .3 | Arnauld, M., 392 n,*® | — y M^re M.A., 170 n.w | Arnold, M., 403 n.®^ | II | 482 INDEX | Art, its interpretation, 2-3, and the | use of formulas, 3 | Arthurian Romances, 8 | Artist, the, his mind, xi-xii; and the | history of culture, 25 an exoticist, | 201 | Atalaric, 367 | Atkinson, N., 172 n.^? | Aubign^, A. d’, 329 | Aubry, A., 131 | Aucassin et Nicolette, 8 | Audra, 478 | Auger, P. S., on the Byronic fashion, | 80, 163 | Auguste, Jules- Robert, 470 | Augustin-Thierry, A , 122, 172 n.®®, | 39$ n>7 | Aurevilly, Barbey d’, x, 70, 129, | 3Si> 402 426 and | 432 n.*5, 462 j his 39, 49n.3+; | Flaubert’s early work compared to, | 156; and the Fatal Woman, 199, | 267 } and Huysmans’ Des Esseintes, | 291, 390 n.5} France and, 307, | 311-12; and the Decadent Move- | ment, 311-15} on P61adan, 317-18} | and Mend^s, 3 29, 3 30 } and Rachilde, | 332} compared with Dostoievsky, | 3 3 7 } a model for Goncourt’s Selwyn, | 420 } and green eyes, 425, 426} and | flagellation, 430 n.^ | Austen, Jane, 444 | Ayres, Ph., 48 n.^, 49 n.a® | Babbit, L, 83 n,J7, 437, 440, 447, 451, | 454, 456, 469-70 | Bacchiacca, 455 | Bachelin, H., 393 n,3® | Bachler, K., 465 | ^ Bachofen, J, J., 17 n.® | Bacon, F., 46 n.®, 438 | Baird-Smith, Mrs., 45a | Baldensperger, F., 170 n.s8, 18 1 | 195 | Balzac, H. de, 117, 226, 320, 331, 445, | 470 } and the ‘fr^n^tique’ type of | novel, 1207* his Jane la P^le, 276 | n.*®} and the Hermaphrodite, 318} | Beardsley and Conder and, 319, | 397 n.®* | Bandinelli, B., 322 | Banville, Th. de, 40} his sonnets | on adulteresses, 252-3} inspired by | Cleopatra, 275 and Heine’s | Herodias, 300-1 | Barbari, J. de’, 294 | Barb6-Marbois, Sophie de, 450 | Barbier, A., his Liberty likened to | Swinburne’s, 238 | Barbiera, R , 172 n.®®, 398 n.®^ | Barham, R. H , 478 | Barilli, M , 411 n.*®2 | Baronio, 262, 263 | Baroque, use of the term, 3, 5, 6, 12 | Barrfes, M., 32, 49 n.3®, 166 n.i7, 279 | n 5®, 388, 395 n s8, 405 nn.*®2. *03, | 4070.^355 on Byron, 90 n.s8} and | Delacroix, 141 } and the exotic, 200 } | and the Leonardo smile, 28 1 n.’s. | his confused Christianity, 307} and | Rachilde, 332-4} his B6r6nice, 359- | 61 } other works of, 361-5, 407 nn.*3s, | *36. Sadism m, 362-3, 365, 380} and | Venice, 363, 407 n >37. France and, | 407 n.^33* on himself, 408 n.^^s^ | 410 | Bartoli, D , 1 59 | Bartolomeo da Venezia, Huysmans | and, 399 | Basile, G. B., 283 n.^s | Bataille, H., 339 | Baudelaire, Ch., 3, 17 n ®, 76, 81, no, | 123, 131, i75n.J®s, 229, 245, 277 | n.3*, 294, 307, 336, 339, 341, 342, | 356, 368, 436, 438, 441, 451 } on | beauty, 23, 51 } and the connexion | between l^auty and Pam, 29-30, | 31 } and the strange, 38-9} and the | beauty in deformities, &c., 40-5} | and Poe, 46 n.®, 49 n.375 and Hugo, | 47 n,*2. and L^s Ltatsons Aange- | reusesy 10 1-2, 166 n.^a* influence of | de Sade on, 106, 146, 155} | and Maturin, 117} influence of | Borel on, 132-3, 134, 136} early | influences on, 137, X75n.*®5} and | Delacroix, 139, 140, 142, 151, | 176 nn.**^» xi9j 290} as he ap- | peared to his contemporaries, 142-3 } | his Decadence, 143 } and Poe, 144-6, | 151, 152, 178 n.*2®, i84n,*74. | his type of love, 145-6} and Jfeanne | Duval, 149--50} sadism in, 150, | i77n.*=*35 his reputed impotence, | 1 5 1, 179 *-^3. proposed titles | of his novels, 151-2} compared with | INDEX 483 | Flaubert, 155, 158, 161 j and Du- | casse, 163 j and Janm, i73n.®7* | compared with Swinburne, 213, | 216, 227; his influence on Swin- | burne, 2 1 8, 246, 2475 D’Annunzio | and, 259, 266, 2675 and the Fatal | Woman, 267, 271 ; and the fetishism | of naked feet, 279 n.s®; his rules of | Beauty, 289-90; his influence on | Huysmans, 309, 31 1; and Mend^s, | 329-30; disciples of, 370-1, 374, 395 | n.58,401 n.'7S43on 8j the GoncoUrts | and, 420; and green eyes, 425-6 | Baumler, A., 8 | Beardsley, A., 301, 392 n,*^4io n.^^s. | and Balzac’s La FtUe, &c., 319, | 397 n.^* ; and Decadence in Eng- | land, 342-3 ; and Colonna, 403 n.^s, | 475; and Wagner, 404 n.^** | Beauclair, H., and parody of the | Decadents, 376-7 | Beaumont, F , 280 n.s^ | Beauty, in the Medusa conception, | 25-7; and the Horrible, 27; and | Melancholy, 28-31 ; and Death, 31- | 2; in disease and decay, 36-40; in | defects and abnormalities, 40-5; the | Romantics and, 80; Baudelaire and, | 178 n.*37j The Pre-Raphaelites and, | 218; of Inertia, 289; Moreau | and, 289-95; Dostoievsky on, 336- | 7; Barr^ and, 360, 363 | Beauvoir, R. de, 137 | Beckford, W., 84 nM, 201, 454 | Belgiojoso, Princess, 12 1-2, 172 n 8®, | 244, 281 n 450; Peladan’s Prin- | cess D’Este based on, 397 n.®7 | Bell, Quentin, 468 | Bendz, E., 392 nn.*^ * 7 , 403 n.®? | Benedetto, L. F., and Flaubert, 182, | 195, 272 n .7 | Benidite, L , 462 | Berenger, H., on Schwob, 354 | Berenson, B , 455, 471-2^ | Berlioz, 121; and the macabre, 137-8 | Bernanos, G., xvi n., 267 | Bernhardt, Sarah, 302 | Berni, F., 36 | Bernini, L., 19 | Bertaud, J., 49 n. 3 ^ 180 279 n .58 | Bianchi, see Ferrari | Bibliophile Jacob, see Lacroix, P . | Birkhead, E., 84 n | Black Mass, the, 266, 268, 310, 352, | 372> 374> 392 | Blake, W., 18 n.*+; and Milton, 56, | 146; Swinburne and, 223, 237; and | de Sade, 278 n.s® | Blessington, Lady, 71 | Blind, K., 237 | Bloch, I., see Diihien, Dr. | Blok, Alexander, 462, 479 | Bloodshed, Delacroix’s obsession with, | I39,<^i4i; D’Annunzio’s obsession | with, 256-8; Flaubert’s obsession | with, 154, 158, 182, 255 | Bloy, L6on, 307, 453, 462 | Bluebeard, 394 | Bock, E. J , 403 n 87 | Bois, J., 406 n.”2 | Boito, A., 459, 460 | Bonal, F., 440 | Bonaparte, Marie, 435, 438 | Boni, G., 411 n.*84 | Borel, P., 175 n 44^, 4^1, 460; | Janm and, 126, 136; and the ‘tale | of terror’, 1 3 1 ; his Contes Immoraux, | 1 3 1-4, 465; his Madame PuUphar^ | 134-6, i86n.*w. Baudelaire on, | 136-7; likened to Flaubert, 156-7; | and Lautr6amont, 163-4; compared | with Sue, 198, 273 n.JO; de I’lsle- | Adam compared with, 315; and | English sadism, 416 | Borelli, Lyda, 303 | Borgese, G. A , 256, 282 n.®^ 41 1 n.*®® | Borgia (family), 58, 339, 400 n.^®, 475 | — f Lucrezia, 113, 216, 314, 400 n^®, | 472; as the Fatal Woman, 190, 217 | Borromini, F., 19 | Bortone, G., 170 n .38 | Bosch, H., 330 | Bossard, Abb6 E., 186 311, | 394 nn. 44 » 43 ^ | Botticelli, 321, 339, 399, 403 n.85,466, | 474 | Boucher, F., 192 | Boucicault, D., 470 | Bouilhet, L., inspired by Cleopatra, | 275 n.26 | Boulay-Paty, E., his filie Mariaker, | 39-40 | Boulenger, J., 451 | BouUan, Abb6, and Satanism, 393 n. 4 * | Bourdin, P., and de Sade, 127, 168 n. 48 , | 174 n.®* | 112 | 484 mDEX | Bourses, fi., his Le CripuscuU des | Dieuxy 327-9, 330, 400 | Bourget, P., 166 n.*^, 469; on Rolli- | nat’s house, 372; Goncourt and, | 420 | Brantdme, 47 n 220 | Brass, F. K., 392 n.*^ | Brawne, Fanny, 239, 274 n.*^ | Brecht, Bertold, v | Bremond, H., 201 | Breton, A., and Lautr^amont, n.*^* | Breton ne, Restif de la, 380, 447; and | de Sade, 107-9, 168 n.+7. his in- | fluence on Sue, 199 | Bncaud, J., and Black Magic, 317, | 393 397 | Brie, F., 182, 275 n.*S 277 n.^*; and | exoticism, 200, 201, 203, 250 | Brignole-Sale, A. G., on the Whipped | Courtesan, 37; some facts of his Hfe, | 48 n.3o | Brissot, on the beauty of the Horrid, | 46 n.3 | Brooks, Van Wyck, 477 | Brosses, President de, on ThMse | Philosopher 98-9 | Brown, ‘Capability’, 21 | — r Horatio, 475 | — , Dr. J., 20 | Browning, Robert, 439 | Brummel, 452 | Bruneti&re, F., 7 | Bryusov, V. Y., xvi | Bulteau, Mme, 41 1 n.*®^ | Bulwer-Lytton, 91 | Burchiello, 163 | Burdett, O., 403 n.^*, 404 n.<>7 | Burke, E., 20 | Burnand, F., and Adah Menken, | 280 n.^4 | Burne-Jones, E., 218, 3995 Lorrain | and, 349, 350 | Butt, J., 437 | Buxton-Forman, H., 239 | Byron, Lord, xv, 83 nM, 88 n.57, | loi, 378, 436, 441, 442; as the rebel | type, 61-6, 8^ n.^<>} the relation of | his heroes to Zeluco, 66, 72; his | debt to Chateaubriand, 67-9, 86 | nn.3S» 36y gy nn.38i4i . and Mrs. Rad- | cliffe’s Schedoni, 69; as the Fatal | Man, 70, 78-815 and incest, 71, 73, | 88 n.495 his treatment of his wife. | 71- 4; and vampirism, 76, 78, 795 | in the Cahiers of Barr^s, 90 n s®5 and | the persecuted maiden, 118, 119, | 1205 his influence on French writers, | i35> i3^> i39> ^ 9^7 313; Flaubert | and, 1625 Ducasse and, 163, and | Swinburne, 224-55 a satanist, 2675 | and exoticism, 275 n.i^* his influ- | ence on Guerrazzi, 282 n.so | Byron, Lady, Byron’s treatment of, | 72- 4, 88 n.53 | Byzantium, ix; Chapter V, passim^ | introduction of this fashion into | Italy, 408 n.*58. D’Annunzio and, | 2625 the Decadent Movement and, | 383-55 Adam and, 384-5 | Cabanas, Dr., on Baudelaire, 177 n.^^s | Calderon de la Barca, P., 116 | Caligula, 442 | Callimachus, 391 n.® | Camerana, G., 459, 460 | Campbell, Th., and the ‘picturesque’, | 20, 21 n.*^ | Cantianille, 393 n.4i | Carcano, Giulio, 448 | Carco, F., xvi n.5 on the attraction of | vice, 5on.45- and English sadism, | 433 | Carducci, G., his idea of Liberty | likened to Swinburne’s, 258, 2495 | Nencioni and, 249 | Carlisle, Lord, 237 | Casanova, 443 | Castelvetro, L., 165 n.’t* | Castiglione, B., 20 | Castro, Eugenio de, 456, 462 | Cat, the, Poe and, 1445 Wilde and, | 246-75 Rollinat and, 372 | Catherine 11, 2x1 | Catholicism, Huysmans and, 306, | 392 n.*7. in French Decadent litera- | ture, 307 | Catiline, 57, 58 | Cavaceppi, Bartolomeo, 472 | Cazamian, L., 472 | Cazotte, J., his Le Diable amoureux, | 192, 272 n.-* | Cellini, B,, 282 n.w, 349 | Cenci, Beatrice, 1 14-16, 282 n.®®, 449 | Cendrars, B., 185 | Cervantes, 1185 Schiller and, 83 n.*^ | Challant, Comtesse de, X90 | 4»5 | Chamisers, E. K., 17 | Chamfort, 71 | Champion, P., on Schwob, 355, | 406 | Chancellor, E. Beresford, 477 | Chantepie, Mile Leroyer de, 160 | Chapman, George, 220 | — , Guy, 454 | Charles IX of France, 219 | Charpentier, J., 175 n.^o® | Chastel, A.,* 456 | Chastelard, 220-2 | Chateaubriand, 10 1, 272 n.s, 273 n.**, | 312, 322, 447 ; and the pleasure from | melancholy, 30-15 his Ren^, 75, | 90 n.®*, 168 nn. 49 . 52. Byron’s debt | to, 67-9, 86 nn.3S. 36. and the | appearance of Atala^ 85n.33. and | incest, 109-10 5 and exoticism, 183 | n.*^3. and the Fatal Woman, 191, | 194, 2095 and French Decadent | Literature, 307, 29 ^ Barr^s* | resemblance to, 361 | Chatterton, Th., 12 1 | ChanedoU6, Ch. P. de, 168 n.s* | Chevalier, E., Flaubert and, 162, | i74n,88, 1840.^82 | Christianity, and the appreciation of | landscape, 18 n.*® | Cinderella, as the persecuted maiden, | 165 n.i | Cinthio, G. B. Giraldi, 47 n,*+ | Cinti, D., 282 n.®* | Clairon, 431 n.*® | Claietie, J., 174 n.«^ 175 n.*®* | Classic, as an approximate term, 1 5 the | classic-romantic antithesis, 6-115 | Barr^s and, 365 | Clemm, Virginia (Mrs. E. A. Poe), 438 | Cleopatra, as a Fatal Woman, 203-6, | 212, 220, 221, 230, 244, 272 n. 7 , | 274n.*7, 338, 341, 38 3 5 the Romantic | poets and, 209, 219, 275 n.26. Swin- | burne and, 240, 241-2, 246 | Clytemnestra, 189 | Coeur, Abb6, 39S n .^7 | Coleridge, S. T., 5, ii, 477, 4785 and | the Eternal Feminine, 203, 274 n.*^ | Colet, Louise, Flaubert and, 159-60, | 183 | Colette, 285 n.***, 406 409 n.*^ 5 | and Decadent literature, 348, 382, | 397 nM | Collins, W., 27 | — ) W. Wilkie, 169 n.53 | Colonna, F., 457, 4755 Beardsley and, | 342-3, 403 n.«  | Comnena, La, 258, 261 | Conder, Ch., 319, 320, 397 n.^* | Cons, L., 451 | Constant, B., his Adolphe, 291 | Conte, E., 402 n.^s | Conti, A., and Decadence, 2515 and | art £^d music, 390 n .3 | Coprophily, Schwob and, 356-7 | Cornette, A. H., on J. Ensor, 404 n.^® | Corvo, Baron, see Rolfe | Costetti, G., 349 | Coulon, M., 378, 410 n .*75 | Couperus, Louis, 41 1 | Courbet, 471 | Courtenay, William, 454 | Cozens, Alexander, 454 | Crashaw, R , his rendering of Marino | on Satan, 54-5 | Cr6billon (fils), 478 | Cr6pet, E,, 177 n.”®, 179 n.**®, 180 | n. *-*8, 279 n. 5 ® | — , J., 177 n 120 | Crespigny, Sir Claude de, 394 n .*5 | ‘Criminal sensuality’, in D’Annunzio, | 284n.n1 | Croce, B., 447, 4605 on ‘Romanticism’, | xi, xii-xiii, XV5 on the artistic mind, | xi, xii5 and the use of approximate | terms, 1,85 and the classic-romantic | antithesis, ro-ii, 17 n.*®5and Flau- | bert, 180 n.*^, 184 n.*®*, 272n.'^5 | on Kleist, 272 n.®5 on A. Vivanti | and English sadism, 433 n.*^ | ‘Cronaca Bizantina’, the, 349, 383, | 408 n.w® | Crowley, A , and satanism, 395 n.s<> | Culture, history of, 2 | Curling, J., 203, 458 | Custance, O., 342 | D’Alembert, 98 | Dalton, J., 20 | Damiens, R. F., 415,^16 | Dante, 1-2, 15, iS n.* 5 , 19, 245, 274 | n.*^, 4275 Milton and, 555 and the | Fatal Woman, 190, 361, 374 | Danton, G. J., 108 | Dargenty, G., and Delacroix, 140, | 176 n.*«  | 486 IKDEX | Davidson, J , 410 429 | Davies, Sir John, 278 n.43 | Day, Thomas, 477-8 | Death, Beauty and, 3 1 | Decadence, vii, and Romanticism, xv, | 8 1, 106, i52;Contiand,25i jMoreau | as a representative of, 289 ; exponents | of, in France, 308-51; the literary | world and, 382 | Decadents, the, and de Sade, 126; | Wilde and, 298; P^ladan anfH, 325; | and the ‘fr^n^tique’, 337; their ob- | session with green eyes, 346; and | Wagner, 41 1 n.^84 | Decadent Movement, the, vii; paint- | ings of, 291; Mallarm6 and, 3035 | Rops and, 305, 369; literature | of, 306; d’Aurevilly and, 311-14; | de risle-Adam and, 315-16; Pela- | dan and, 316-17; Mend^s and, 329; | and the Androgyne, 322, 336; and | the ‘fr6n6tique*, 337; Lorrain and, | 339> 345-51 } England, 34i-5> | 395 n.59, 403 n.®®; de Gourmont | and, 352-4, 359; Schwob and, 354- | 9; Gide and, 369; Vivien and, 374- | 6; Parodies of the poetry of, 376-8, | 410 n.*73. Verlaine and, 378; causes | of the Movement, ^Zoetseq.^ and | Byzantium, 383; D’Annunzio and, | 385 etseq,\ its relation to Romanti- | cism of 1830, 394 n/7 | Decameron f 67 | De Foe, D., 5, 108 | Dekobra, Maurice, 200, 432 n.** | Delacroix, E., his macabre style, 139- | 40, 14X; compared with Swinburne, | 140, 142, 237; Baudelaire on, 176 | a,ix4, 177 nn.”®» 290; com- | pared with Baudelaire, 1 5 1, 177n.“9; | r likened to Flaubert, 153, 156, 159- | 60; as a painter, 289, 294, 298 | del Cairo, F., 476 | Delilah, 212, 262 | Delior, P., 406 n.“^ | Denham, J., 19 | Denison, Alber^ 450 | De Qumcey, Th., 125, 127, i84n.*®7, | 355, 430 n 5 , 450-1; and murder, | 124, 173 n.®4; his Mater Lachry- | marum, 202 | de Roy, E., 41 | Deshairs, L., 462 | Deutsch, N. Manuel, 32 | Deutschbein, M., on ‘romantic* and | ‘romanesque’, i7n.*4 | Diamond, W., 17 n.^ | Dianti, L. de, 327 | Dickens, Charles, 479 | Diderot, 125, 165 n.”, 308, 354, 380; | and beauty and morality, 32; on | Richardson’s Lovelace, 97 ; as a fore- | runner of de Sade’s Justtne^ 97 ; and | the justification of perversion, 97-8; | and the persecuted maiden, 97, | i7on.5Sj Maturin’s debt to, 119, | 171 n.72; de Gourmont compared | with, 352 | Diehl, Ch., 383 | Diodorus Siculus, 275 n.^i | Don Quixote, the bandit of, 83 n.*7 | Donadoni, E., on Tasso, 33 | Donne, J., xiii; and the beauty of | maturity, 37, 40 | Dostoievsky, 106, 145, 278 n.s®, 356, | 467; profanation, 155; and ThMse | Philosopke, 166 n.*®; and the Fatal | Woman type, 199; his confused | Christianity, 307; in France, 322, | 336; and ‘fr6n6tique* Romanticism, | 337; his influence on Lorrain, 338; | his influence on Gide, 365, 366, | 368; his psychic state, 401 n.^^; as | a sadist, 401 nn.^®* ®®* ®* | Douglas, Lord Alfred, 392 n.*® | Dowden, E., 459 | Dowson, E., 342, 397 n.®* | Doyon, R.-L., x n., 394 n.+^ | Drake, N., 27 | Drama, ‘monastic’, 120, 169 | Dryden, John, 439 | Du Bos, Ch , on Byron as an ‘outlaw’, | 70-1, 88 n, 5 +, 9on.58, 407 | and Wilde, 340; and Gide, 366 | Dubufe, 471 | Dubus, 317 | Ducasse, I., see Lautr6amont | Ducray-Duminil, 199 | Dufay, P., and Baudelaire’s impo- | tence, i79n.*42 | Du Fresnoy, Ch- A., 19 | Dflhren, Dr., vii, 278 n.^, 394 n.®*, | 415, 430 n.* | Dumas, A- (p^re), 139, 278 445; | his Antony as a ‘fatal’ rebel, 75; | and the recognition scene, 113; and | INDEX 487 | the roman-femlleton, 1205 and the | horrible, 1 3 1 5 de Sade’s influence on, | 1375 and Orientalism, 205 | Dumesnil, R., and Flaubert, 152, 153, | 161, i 8 on.* 4 ® | Duplan, J., 183 nJ7o | Duret, Th., 404 | Duval, Jeanne, 44, 149-50, 451 | — , P., see Lorrain, J. | Dyer, J., and the ‘picturesque*, 18 n.*s | Eaton, H. A , 450 | Eckermann, J. P., 17 n.® | Ecstasy, in the exotic, 201, 202 | Egan, T. S., 392 | Eggli, J. E., 84 n.2S, 91 n.6a | El Greco, Harris on, 364 | Eliot, T. S., 17 n .3 | Elizabethan dramatists, 66, 438, 439; | and beauty, 28 j and delight in pain, | 365 influenced by Italian Renais- | sance, 190, 3145 their influence on | Swinburne, 218, 220, 279 n.s®; | Bourges and, 327, 328 5 and Machia- | velli, 429 | Ellis, Havelock, 474-5 | — , S. M , 278 n | Elssler, Fanny, 464 | Empedocles, 446 | Encyclopedistes, 109, 352, 354 | England, the Fatal Woman in, 2135 | Decadent Movement in, 341-5, | 395 n.59, 403 n.®®} flagellation in, | 415-29; sadism in, 415-16, 421-9, | 433 | Englishman, the, 132, 174 n.^® | Englishwoman, the, as a Fatal Woman, | 200 | Ensor, J , 346, 404 475 | Ernst, Max, 453 | Escholier, R,, 176 177 n ”9 | Escouchy, M. d’, 357 | Este (d*) (family), 283 n. 99 , 321, | 327 | Estfeve, E., 80, 84 n.2s, 91 n,?®, 169 n. 54 , | 170 n.5S | Eternal Feminine, Swinburne and, | 230, 263 | Eton, its influence on Swinburne, 239, | 241 | Eulenburg, A., 285 n .“7 | Euripides, 8, 240 | Evil, as a part of beauty, 295 | Exoticism, 5, 19, 456; in Flaubert, | &c., 182-3; and the erotic, 197; | and the Fatal Woman, 200; and | mysticism, 200-1; the Romantics | and, 201; m Gautier, Une Nmt de | Cleopdtrey 203; true and false, 274 | n *9. Delacroix, &c., and, 289; de | Rais and, 31 1; Barr^s and, 364-5 | Eymery, Marguerite, see Rachilde | Falk, ]^, 457 | Farmer, A. J., 403 nn ®9, 90 | Farnese, Giulia, 400 n ^9 | Farnie, H. B., 280 n.64 | Fatal Man, the, descendant of the | Byronic hero, 75-6, 78, 206; as a | vampire, 77-8; his metamorphosis, | 271 | Fatal Woman, the, 152, 465; in Flau- | bert, 1 54, 2 to-i 3 ; in mythology and | literature, 189-90; the Romantics | and, 1 91 et$eq,\ Lewis’s Matilda as, | 192-4; in Chateaubriand, 194-5; | in Merim6e, 195-75 in Sue, 197-9; | as a Russian woman, 199-200, 337; | in Gautier, 203-6; sexual canni- | bahsm in, 205-6; the archetype, | 209-10, 2770.3*; in Swinburne’s | Mary Stuart, 219-23; in Dolores, | &c., 228-36, 239; in Monna Lisa, | 243-4; change in Wilde’s The | Sphinx, 246-7; in Wilde’s Salome, | 248; in D’Annunzio, 248, 251-5, | 259; in Nencioni, 248-50, 251; | in Italy, 251; her noble origin, | 261; studied from life, 267-9; in | Gilkin, 269-70; her metamorphosis, | 271; Huysmans and, 291, 293; | Moreau and, 296; m Dostoievsky, | i 99 > 3375 *** O’Shaughnessy, 341; | Verlaine and, 379 | Fatality, as a part of beauty, 295 | Faulkner, Jane, Swinburne and, 236 | Faust, 389, 406 n.*** | Faustine, Swinburne and, 229-30, | 244, 250, 254, 283 n ,*96 | Fehr, B., 276 n . 3 * ; and Wilde’s sources, | 281 n.^^, 403 n .*7 | Ferrari, F. Bianchi, 398 n 6^, 472 | Ferri, G. (I^andro), 461, 477 | Feval, P., and the romans-feuiUeton, | 78; his Rio-Santo as Byron, 78-9; | and English sadism, 416-1:7 | 488 INDEX | Fiorentino, I., 383 | Fischer, W., 403 n 87 | Flagellation, in Swinburne, 215-17, | 241, 277 nn. 39 » 40. in literature, | 278 nn. 4 i» 43. 47. in England, 415, | 418, 427, 432n.*3 | Flandie, J. L., 461 | Flaubert, G., 436, 460, 473; Bou<vard | et P^cucketf 21, 139, 358; and Ro- | mantic sensibility, 28, 31; and the | Beauty of Pam, 45; his ^alogy | with Baudelaire, 152; and de Sade, | 152-5; profanation in, 155, iSo | n.*58* his feminine ideal, 155-6; his | taste for the Orient and Rome, 156- | 7, i82n.**3; exoticism in, 157-9, | 197; his letters to Louise Colet, | 159-60; one of his letters to Mile | Chantepie, x6o; and Byron, 162; | his sadistic temperament, 161-2; on | Janin, 173-4 n.88* incest, 180 | n.* 38 ; and Borel, 181 and the | Fatal Woman, 191, 195, 200, 244, | 267-8, 272 n. 7 ; Vampirism in, 210- | 11; inspired by Cleopatra, 212; | compared with Swinburne, 219, | 225, 234, 267; compared with | D’Annunzio, 252, 255, 262, 264; | and the fetishism of naked feet, | 279 n.s^; Wilde’s debt to, 281 n. 76 , | 298, 299 ; compared with Huysmans, | 292-3, 309; his Salome, 303, 392 | n.**; his Salammb6, 241, 296, 304, | 305, 385; his influence on Lorrain, | 349; and Schwob, 355, 356; Barr^s | and, 362, 363; the literary ante- | cedent of Rops, 370; and Byzan- | tium, 383, 385; compared with | Moreau, 390 n. 7 , 391 n.® | Flecker, J. E., 342 | jpiemalle, Master of, 308 | Fletcher, J., 280 n.s® | Flora, F., and D’Annunzio, 256, 265, | 282 n.w, 284 n.*<»s> | Flottes, P., and Baudelaire’s religion, | i77n.«i; and Baudelaire’s impo- | tence, 179 nn.*42,i43 | Ford, J., *80 n.'S', 328, 356, 439, 457 | Foscolo, 442 | Fragonard, 319 | Fraisse, A., Baudelaire and, 177 n.**® | France, use of word ‘romantique’ in, | 13; and the ‘noble brigand’, 61, | 840.255 the ‘tale of terror’ in, 120; | the Russian novel in, 322, 336 etseq,-, | literary fashion in, 387 | France, A., 127, i74n.9i, 380; and | Baudelaire, 177 n.'^s. and sadism | and Catholicism in Decadent litera- | ture, 307; on d’Aurevilly, 311; on | Peladan, 317; and Barr^s, 407 n.*2s | — , H., 395 n.55 | Francois, A., 17 n *3 | Fraxi, Pisanus, 415 | Freud, S., 435; and Dostoievsky’s | psychic state, 401 n. 7 ® | Fuller, R., 477 | Futurism, 6 | Gabory, E., 394 n.4s | Gabrieli, M., 465 | Gall, F. J., 128 | Gallienne, R. Le, and the Fatal | Woman, 271; and Decadence, 342; | his parody of the Decadents, 377-8, | 476 | Gmnianiy de Musset and, 175-6 | Gargiulo, A., on D’Annunzio, 259, | 260, 283 n.*®* | Garnett, C., 401 n.®* | Gattina, P. Petruccelli della, and | Lesbianism, 397 n .®3 | Gaunt, W., 458, 466, 468, 472 | Gautier, Judith, 47 n.«  | — , Th., 9in.®s, 122, 131, 1730.85, | 212, 241, 276 n. 3 i, 344, 389, 390 n.J, | 424, 431 n.8, 452, 453, 460-1; | and the roman-charogne^ 123, 126; | de Sade’s alleged influence on, 137, | 1750.*®’’; and Delacroix, 139; his | exoticism compared with Flaubert’s, | 156, 157-9, 183 n.*63, and the | Fatal Woman, 200, 203 ; and female | beauty, aoaj^as a founder of | aesthetic exoticism, 203, 391 | his Nuit de Cliopdtre^ Z03-6; his | Kqi CandauU^ 207-8, 2800.^75 and | the Vampire woman, 208-9; and | the archetypal Fatal Woman, 209- | 10, 244, 269, 276 n. 3 ^, 277 nMi | and Swinburne, 213, 217, 218, 219, | 221, 226, 234; inspired by Cleo- | patra, 242; and the Hermaphrodite, | 318-19, 342, 406 n. ” 3 , 464 | Gavarni, Goncourt on, 166 n.*’ *' | Genfit, xvi | INDgX 489 | G^ricault, 140 | Germany, and the ‘tale of terror’, 120 | Gide, A., xi, 28, 166 ^78 n.soj | his influences, 365-6, 3675 charac- | teristic of, 366 j sadism in, 366-7, | 368—9 | Gilkin, L, his Fatal Woman, 269-70 | Gilpin, W., 20, 21 | Ginzburg, L , 401 n | Gioconda, La, 3, 327, 328, 337, 458- | 9; her mysterious smile, 45, 50 n.'*^, | 271, 4585 Walter Pater and, 243-4, | 276 n.30, 400 Huxley and, 246 5 | Wilde and, 2475 Conti and, 2515 | the Goncourts and, 281 n.?* 5 the | Androgyne and, 320, 325 | Giordano, L., 388 | Giorgione, Conti on, 251, 390 n .3 | Girardin, Marquis de, and the word | ‘romantique’, 13 | Gironne, E. de, 430 n.® | Godwin, W., his St. Leon, 172 n.^^; | his Caleb Williams, 272 n.s | Goethe, 10, 91 n.^s, 119, 249, 4535 his | Wilhelm Meister and Hamlet, 2, 17 | n. 3 5 and the Medusa legend, 26, 27; | and the Vampire legends, 76, 77, 79- | 80, 2095 and the persecuted maiden, | 96, no, in, 117, 118, 165 n.®, | i69n.53, 19^5 and the regenerated | prostitute, 109 | Gogol, N., 475 | Goncourt, J. and E. de, 176 n.***, | 310, 389, 398 n.68,401 n.'yS404n.98, | 457, 458, 465, 4785 on the beauty | of corruption, 45; on the influence | of the Confession of de Musset, 138- | 95 and Flaubert, 1535 on Justine, | i66n.335 and the Gioconda, 281 | n.^*} and Moreau, 347-85 and | Schwob, 3555 and Rops, 3695 and | RoUinat, 3725 and de Montesquiou, | 3745 and vice, 381, 4ion.*s*5^n»a- | phrodisme intellectuel of, 410 n.^^* 5 | and sadism in England, 416, 417- | 18, 419, 422, 423-45 and Baude- | laire, 4205 E.’s Georges Selwyn, | 425, 45t6, 427, 4295 D’Annunzio | and, 43inn.9»*05 and the cruauti | des blonds, 432 n .*5 | Gomr, G., 457 | Gorky, Maxim, 472 | Gosse, £., 2145 and Swinburne, 237 | Goupil, Albert, 476 | Gourmont, R. de, xn., 106, 324, | 333, 355, 3885 on Louys’ Aphrodite, | 273 n.**; influenced by Huysmans, | 3095 quoted by Lorrain, 3495 com- | pared with Lorrain, 351 5 as a sadist, | 352-35 sacrilege in, 353-45 com- | pared with Barr^s, 3595 on Chateau- | briand, 3615 his physical life, 406 | n.**^5 Rouveyre on, 392 n.23, 406 | n.i^ | Govoni, C., and the Fatal Woman, | 1995 his algolagnic fantasies, 351 | Goya, 58, 332, 448 | Gozzano, G., 109 | Gracq, Julien, 453 | Graves, R., 21 n.*s | Gray, J., 342 | — , T., 17 n.«, 20 | Greece, and the ‘tale of terror*, 113, | i7on.^*5 and the Fatal Woman, | 189, 2065 Leonardo’s Gioconda | compared with its sculptures, 243 | Greuze, J.-B., 471 | Grien, H. Baldung, 32 | Grierson, H. J. C., on the classic- | romantic antithesis, 7-8, 9, 17 n.^, | 82 n.’^s | Grillparzer, F , his debt to The Monk, | 1 1 2 , i7on.57 | Grimm, J. and W., 283 n.^s | Guaita, Marquis S. de, 317, 393 | 395 n.58 5 on P 61 adan, 320 5 his works, | 394 | Guastalla, R., 282 n.8o | Guerrazzi, F. D., 170 n.S 330, 331, | 4605 and the horrible, 251, 282 n.^o* | influence of Mrs. Radcliffe on, | 282 n.8® | Hadrian, 19 n.*s | Haferkorn, R., 17 n | Halp6rine-Kaminsky, E., and TMrese | Pktbsophe, 166 n.i6 | Ham, Roswell Gray, 439 | Hamilton, Lady, 416 | Hardman Papers, 1^78 n.^x, z8o n.^^, | 477 | Hardy, T., 4365 Tess as a persecuted | maiden, 169 | Harris, Frank, 473 | Hartland, R. W., 172 n.76, 174 n.®^ | HaufF, W., i74n*’-^ | 4.00 Il^EX | Hawthorne, N., 169 n.s 3 , 443 | Heine, H., Nencioni and, 249; and | the fascination of women already | dead, 276 n.^^j and the Princess | Belgiojoso, 281 n. 74 ; Herodias, 299- | 300, 302, 392 n.** | — f M., on de Sade, ix, 167 n. 3 ^, 446, | 447-8 | Heinse, J. J. W., 201 | Helen> 219, 243, 343, 362, 391 n.* 4 , | 469 5 as an inspiration, 206, 2 248, | 249, 3415 D’Annunzio and, 251, | 2525 Samain and, 296-7, 372} | Pascoli and, 297 | Heliogabalus, 157, 173 n.8*, 182 n.i^a, | 339> 367? 383> 4” | Hellenism, and the ‘picturesque’, 19 | n.is; and the ‘tale of terror’, 113, | 170 | Hell-fire Club, the, 430 n.s, 477 | Henkey, Frederick, 478 | Hermaphroditism, Wamewnght and, | 2035 Swinburne and, 2265 the De- | cadents and, et seq,^ 376, 390 | n.45 in Gide, 366; in Samain, 3725 | Crowley and, 396 n. 39 ; the Gon- | courts and, 410 see also | Androgyne | Hernandez, L., 394 n. 4 S | Herodias, in Heine’s Atta Trolly 299- | 300, 392 n.**5 see Salomd | Hichens, R., 410 n.”3 | Hippodamia, 31 | Hock, S., 91 n.^^ | Hoffmann, E. T. W., 469, 4775 his | debt to The Monky in-12 | Hofmannsthal, Hugo von, 440, 458 | Holderlin, 4, 10, 1 1 | Homer, 189, 205, 249 | Homosexuality, in Gide, 366; in Ver- | ^laine, 3785 in Schwob’s characters, | 357 | Horror, the cult of, 26-45, 46 n. 3 ; | Guerrazzi and, 251, 282 n.*® 5 its | attraction in woman, 268-9 | Hospital, the, as a background, 269 | Houghton, Lord, see Monckton | Milnes | Houssaye, A , and J. Janin, 122, 172 | n.®*; and the Princess Belgiojoso, | 244, 398 and Lesbianism, | 319 | Howard, W. M., 19 n.*s | Howell, Ch. A., 280 n.^* | Hughes, Randolph, 456 | Hugo, V., 139, i7on.58, 314, 430 | n.8; and the relationship between | Beauty and Death, 31, 32, 47n.*25 | his debt to The Monk, 112; and the | recognition scene, 113; the ‘fr6n6- | tique’ type of novel, 120, 133; de | Sade’s alleged influence on, 137 j and | Baudelaire, 1425 his debt to Men- | mee, 195, 196; inspired by Cleo- | patra, 275n.26; Mend^s’ debt to, | 329; D’Annunzio likened to, 388 | Humanism, 201 | Hussey, C., and the ‘picturesque’, 18- | 21 n.*s | Huxley, A., and the Gioconda smile, | 246 | Huysmans, J. K., 133, 321, 338, 406 | n.“S 450, 452, 460, 465, 470, 471, | 4725 and the Fatal Woman, 267, | 268} and Moreau, 291, 292-4, 296, | 390 n.4, 39in.8»i4, 405n.*®4. and | Mallarm6’s Salom6, 303 5 on chastity | in art, 305-6, 312, 369; and sadism, | 306-7, 353, 3805 and neo-Catholi- | cism, 307, 3085 Val6ry on, 308} his | A Rebours, 308-9, 340$ his Decadent | taste, 3105 and de Rais, 310-115 his | Hyacinthe, 311, 347, 3525 Lorrain | and, 351, 4265 and Rops, 3695 and | de Montesquiou, 374, 409 n.i^a * and | Decadence, 3825 and Satanism, 393 | n. 4 J, and Bianchi Ferrari, 398 n.^^ | Hyde, H. Montgomery, 466 | lamblichus, 170 n.^* | Idman, N., 172 n.^a | Imitation of Christ, 377 | Impena, zzo, 2x6 | Incest, 463, 469; its place in the ‘tales | of terror*, 695 Byron and, 69, 71, | 73, 87 the Romantics and, 1095 | Chateaubriand and, 109-10 5 in | Shelley, 116} in Flaubert, 180 n.*58j | in Swinburne, 226-7; in D’An- | nunzio, 255, 257, 283 n.^^, 265; in | Quillard, 282 n.<^S; in Mendfes, 330; | in Schwob, 357; in Barr^s, 361-2, | 364; in Gide, 368 | Inertia, Moreau and the Beauty of, | 289 | Intrigues monastiques, 169 nM | INDKX | Irene, 383 | Irving, W., 27, 134, 445, 477 | Isle- Adam, Villiers de F, 307, 330, 331, | 356, 470; and the Decadent Move- | ment, 3 1 5-1 6 j and the Androgyne, | 336; and sadism in England, 421-2 | Italian Renaissance, its influence, 314, | 398 n.67 | Italy, erotic invention in, 250, 282 n 79. | the Fatal Woman in, 251 et seq.'^ | and the Decadent Movement, 385, | 3875 France and her literary fashion, | 3875 and the Byzantines, 408 n.^ss | Jackson, Charles, v | — , H., on the minor poets of the Deca- | dent Movement, 390 n.-*, 403 n.ss, | 404 408 n.*56 | Jacopone da Todi, 285 n | Jaloux, E., on Lafourcade’s S'aom- | hume^ viii | Jammes, F , 463 | Janin, J., 4435 his VAne Mort, 122-5, | 129, 130, 131, 132, 153, i72n.8i, | 173 n 82, 279 n.S3, 356, 407 n«7, | 450 } and de Sade, 125-8 ; and BoreFs | Madame Putiphar, 1 26, 1 36 ; likened | to Flaubert, 1565 his Honestus, 173 | n83, 18 1 n.i59 | Jansenists, 440 | Janssens, Father Laurence, 463 | Jasinski, R., 173 n.85, 397 n.^2 | Jensen, W., 435 | Jesse, J. H., 430 nn.3»4 | Jesuits, the, 400 n.73 | ‘Jeunes-France’, the, 122, 137 | Jezebel, 240, 262, 363; Crowley’s | Jezabel, 396 n,59 | Joan, Pope, 400 n,^^ | Johnson, L., 342, 345 | Johnson, S., and the word ‘romantic’, | I2“I3 | Jouve, P.-J , xvi, 461 | Jowett, B., 430 n.8 | Jiinger, Ernst, xvi | Karr, A., 432 n | Keats, 187 J and the poetic character, | xii-xiii; and romanticism, 5, n, 15; | and the beauty of melancholy, 30, | 31, 133} exoticism in, 201-35 Swin- | burne and, 228, 239, 280 n,^j | Wilde and, 247, 2485 and the Belle | Dame, 274n.*7j his Lamia, 240; | Schwob compared with, 355 | Kessel, J., xvi n. | Khnopff, F. E. J. M , 349 | Khunrath, H., 397 n | Kierkegaard, S., 166 n.^7 | Killen, A M., 172 n.75 | Kleist, H von, his PentkenUa, 10, | 194; Croce on, 272 n.® | Klimt, Gustav, 476 | Klopsaick, F. G., 57, 58 | Knight, R. Payne, 20 | KraSt-Ebing, R., 91 n.66, 403 n.92 | KrSger, H., and Byron’s love of | fatality, 83 nn.*7»i9, n.-*® | Lacenaire, 162, 431 n.8 | Laclos, Choderlos de, his Les Ltatsons | dangereuses, 99-102, 108, 167 n.s®, | 442, 454; de Tilly on, loo-i; | Baudelaire and, xot-2 | Lacroix, P. (Bibliophile Jacob), 126, | 137, 173 n.88 | Laforgue, J,, 271 ; and Salom^, 301-3, | 392 n 21; and the disciples of Bau- | delaire, 370 | — , Dr. R., 177 n.*23 | Lafourcade, G., 436, 479; and Swin- | burne, viii, 214, 217, 221, 222, 223, | 226, 233, 234, 237, 238, 277 nn.37, | 38, 39, passim, z%o passim, 390 n.^ | 430 n.7 | Lamarteli^re, J. H. F., 61 | Lamartine, A. de, 17 n s | Lamb, Lady Caroline, Byron and, 735 | her Glenarvon, 76 | Lambert, Sir John, anecdote of, 49 n.37 | Lamia, 240 | Landscapes, Chateaubriand on, 30-1 ; | D’Annunzio on, 46 n.”; in the | novels of D’Annunzio and Mirbeau^ | 269 | Langdon, S. H., 272 n.^ | Larat, J., on the origin of the ‘noble | bandit*, 83 n.*7 | Lassailly, Ch., 175 n.i®5 | Lasserre, P., his ^e Romantisme | frangais, xii, 169 n.52, 175 | Latouche, H. J A. Thabaud de, 318 | Latr^aumont, N. du Hamel de, 184 | n.^89 | I^utr^amont, Comte de (Ducasse, L), | 135, 163-4, 453> 4^25 Sue and, | 492 INDEX | i84n.*89. the Surrealists and, 185 | a specimen of, 185 n.*w | I^wrence, D. H., 287, 3355 and Poe, | 145, 178 n.*25 | I^andro, see Fern, G. | Le Dantec, Y. G., on Vivien, 376, | 409 | Ledos, E., 393 n. 4 * | Lee, N., 439 | — , Vernon, 43 1 n.* 3 , 476 | Le Fanu, J. S , 169 n.s 3 , 477 ^ | Leigh, Augusta, Byron and, 73, | 88 n.49 | Lenclos, Ninon de, 168 n.so | Lenormand, H. R., xvi n. | Lenz, J., and the persecuted maiden, | 169 n .53 | Leopardi, G., 279 n. 5 + | Leroyer de Chantepie, Mile, see | Chantepie | Le Sage, 130 | Lesbianism, 452, 470, 4775 the De- | cadents and, 3x8-20, 397 nn ^3,64. | in Paris, 3 1 9 seq, 5 in Mend^s, 3 32 5 | in Samain, 37a | Lessing, 443 | Letourneur, P,, and the word ‘roman- | tique’, 13 | I-evaillant, M., 447 | livi, E., 394 n. 4 i | Lewis, M. G., 76, 441, 443, 447, 448, | 4555 his Tke Monk, 60-1, iii, 1x9, | X30, 170 n.58, 276 n.*®5 his sources, | i 6 qn.^) x8on.*385 and the Fatal | Woman, 191, 192-5, 1975 his Bleed- | ing Nun 5 influence on Flaubert, | 155 | — , Wyndham, v | Libertin, meaning of the word, 285 | n.”8 | Liberty, Swinburne as the Bard of, | 237-8 | Lilith, legend of, 189, 272 n.* | Lippard, George, 477 | Lipsius, 399 n.®<» | Lisle, Leconte de, 391 n.^, 395 n.s8 | Literary criticisrn, and the history of | culture, 25 its false interpretations, | 2-16 | Littr6, on ‘romantique’, 7 | Livy, 443 | Lombard, Jean, 4x1 | Lombardini, V., 283 n .*®3 | Lombroso, C., vii; and Baudelaire, 177 | Longiano, S. F. da, x6 | Lorrain, C., and the ‘picturesque’, | 18 n.^s, X9 | — , J., 466, 473; and Hugo, 47 n.**; | and the Gioconda, 2445 ^J^d Huys- | mans, 294, 309, 351; inspired by | Heine, 301 ; compared with d’Aure- | villy, 314; and Rachilde, 333, 3355 | and the Russian Woman, 337-85 as | a sadist, 339-40, 349-51, 3805 com- | pared with Wilde, 345-6; and | Moreau, 346-7; and the Goncourts, | 347-8; his etheromania, 348, 406 | n.“®; Colette on, 348; Rops and, | 370; and the Decadent Movement, | 382; D’Annunzio and, 387, 3S95 | Bourges and, 40 x n.74j his perversi- | ties, 402 nn.®3* 84, 85 . his remini- | scences, 405 nn.*®***®®, 4o6n.**3, | 408 n»* 5 ®; and English sadism, 426, | 432 n.* 5 , 433 n.*^ | Louys, P., and the Fatal Woman, | 19X, X99; compared with Sue, 273 | ni* | Lovelace, R , 19, 38, 48 n.29 | — y Earl of, his Astarte, 61-2, 84 n.^® | — Richardson’s, 66, 96-7, 99, 102, | X07 | Lucas van Leyden, 321 | Lucini, G. P., 283 n.*®3, 431 n .*3 | Ludwig II of Bavaria, as an inspira- | tion, 327, 33^8-9, 342, 465 | Luther, 146 | Luxembourg, Rosa, 432 n | Luzio, A., 398 n.% 450 | Macchia, G., 45 x | Machen, Arthur, 466 | Machiavelli, the Elizabethans and, 58, | 60, 84n.23, 429; and exoticism, | 275 n.*® | McIntyre, C. F., 84 n.*^ | Maclisius, 424 | Maeterlinck, M., 15, 93, 287; | D’Annunzio’s debt to, 256; Moreau | as a forerunner of, 298; and the | Decadent Movement, 382; his in- | fluence on Wilde’s Salomiy 392 n.** | Magalotti, L., 5 | Magnasco, 32 | Maigron, L., 49 n.ss, i^g 11.48^ and | the ‘Jcunes-France’, 122 | INDEX 493 | Maindron, M., 332 | Maizeroy, R., 332 | Male, E., 409 | Malfi, Duchess of, 190 | Mallarm^, S,, 273 n.«>, 338, 388, 406 | his Salom^, 303--5; and Wag- | ner, 387 | Malmesbury, William of, 454 | Malvezzi, A., 450 | Mander, C. van, 19 n.*s | Mandeville, Sir John, 220 | Mandiargues, A. P. de, 453 | Mann, T., 467-8 j his Toii in Venedig^ | 50 | Mantegna, 294, 323 | Manwarmg, E. W., 19 n.*® | Manzoni, A., 365; his Nun of Monza, | lyon-SSj and the ‘tale of terror*, | 170 n.6<> | Margaret of Burgundy, 113, 156, 204, | 211, 220, 338 | Marie, A , 175 n.*03, 4^6 | Marinetti, F. T., his Mafarka le | Futunste, 282 n.^i | Marino, G. B., 6, 312, 3895 and the | element of surprise in poetry, 385 | his negress slave, 445 and Satan, | 53-4, 56, 69 | Marlowe, C*, 278 n ^ 3 , 280 n.®’, | 438-9; and the delight in pain, 36, | 48n.*^5 his Dr. Faustus, 119; and | the Orient, 183 n.*63 | Marsollier, see Viveti^res | Martial, 318 | Martineau, L. B., 462 | Martino, P., 175 n.*®® | Marvell, A , 19 n.*® | Mary Stuart, 21 1; Swinburne and, | 217, 219-22 | Masoch, see Sacher-Masoch | Masochism, in Rousseau, 278 n.^'^; in | de Musset, 175 n.^®^; in Flaubert, | 154; in the nineteenth century, 206 j | in Swinburne, 217, 278n.^7; in | D’Annunzio, 263 | Massinger, P., 280 n.®® | Maturin, C. R., 1 12, 136, 449 5 his Mel- | moth the Wanderer, 76-7, 116-20; | his debt to Diderot’s Religieuse, 171 | n.W; Wilde and, 344, 404 n.®® | Mauldc, R. de, 186 n.wz, 31 1, 394 | nM | Maupassant, G. de, 478; on Swin- | burne, 279 n. 5 ®; meets Swinburne, | 418-19, 427, 429, 430 n.» | Maurois, A., and Byron, 71, 88 n,^® | Maurras, Ch., 371; and Vivien, 409 | n.3®® | Mayer, Mile Constance, 458 | Mayne, E. C., and Byron’s Life, 71, | 72, 87 n.-*3, 408 n.343 | Mazzini, G., and Swinburne, 237 | Medmenham Monks, 477 | Medust, cult of, xiv, 43, 271; Shelley | on, 25-6; the Romantics and, 25- | 45; in Flaubert, 154-5; Huysmans | and, 309 | Meibomius, 418, 424 | Memhold, W., 218 | Melbourne, Lady, 72 | Melville, Herman, 449 | Memling, 347, 369 | Memmi, L., 465 | Mend^s, C., 129, 464; and Baudelaire, | 151-25 a preacher of misfortune, | 329; his novels, 330-2, 401 | and Lesbianism, 3325 on Mikhael, | 373-4 | Menken, Adah, Swinburne and, 236- | 7, 280 nM, 457 | Meredith, G., 4505 and Swinburne’s | Cleopatra, 241; and the Princess | Belgiojoso, 398 nM | M^rim6e, P., 127, 4565 his Vampire, | 77, 91 n.®®; and the Fatal Woman, | 191, 195-7, 207, 208, 209, 273 n.«  | Messalina, as the Eternal Feminine, | 211, 230, 250, 339, 396 n.®® | Meursius, 318 | Michaelangelo, Swinburne on, 239- | 41; and the Fatal Woman, 244, | 276 n.*®5 Moreau and, 289 | Michelangelo, Andrea di, 455 | Mickiewicz, A., 163 | Middle Ages, Schwoband, 356, 357-8 | Mikhafel, E., Mend^is on, 373“4 | Miller, H. M., 87 n .44 | Milosz, XVI n. | Milton, 19 n.*®, 82 nn.®» | 87 n 147, 1635 Ws conception of | Satan, 54-7, 85 n.®*, 378; his Satan | as the original of the rebel type, | 57-8, 59, 66, 69, 83n.*7, 84 n.*^ | 1935 Byron and, 61 | Mimnermus, 205 | Mirbeau, O., 460.*, 152, 215, 316, | INDEX | 403 4^^ j and the Fatal Woman, | 200, 267, 268, 269; and Maeterlinck, | 298} and English sadism, 425, 432 | n.«  | Mol^nes, Madame de, Baudelaire and, | 43 | Moll Flanders, 356 | ‘Monastic Drama’, see Drama | Monckton Milnes, R., 88 n.s7j and | Swinburne, 215-16, 224-5; | flagellation, 278 n.+* ^ | Monglond, A ,47 n,*4, 87 n.s’, 88 n.si, | 166 n 168 n.47 | Monk, Samuel H., 440 | Monna Lisa, Pater on, 243-4 | Monselet, Ch., 175 n | Montaigne, 408 | Montano, L., and Magalotti, 5 | Montesquieu, R. de, 346, 391 n.**, | 397 n.^6. anecdote of, 374; Huys- | mans and, 374, 409 n.^^S; Lorrain | and, 426; Proust and, 374 | Montherlant, H. de, 307, 335 | Monti, V., 4 | Montigny, Darles de, his Thdrhe | Phtlosophe compared with Clartssa, | 98-9; Dostoievsky and, i66 n.*^ | Montijo, Comtesse de, 196 | Monvel, Boutet de, his Les Victmes | doMes, 169 n.54 | Moore, G., 471; and the Decadent | Movement in England, 342 | — , J., his ZelucOi 72 | — , O* H., 82 n,8 | — i Thomas, 445 | Mor, A., 404 | Morand, Paul, 478 | Moreau, G., 152, 203, 397 n.^^ 461, | 462, 468, 469; and the Fatal | Woman, 2065 his principles as a | painter, 289-905 and Wagner’s | music, 290; characteristics of his | figures, 290-15 Huysmans and, | 291-4, 303, 390 n.45 compared with | Flaubert, 292-3, 390 n.?; his con- | ception of female beauty, 295, 297, | 39 1 tt.**; his i^phinx’ pictures, 296; | subjects of his pictures, 297-85 a | forerunner of Maeterlinck, 298; | Wilde and, 299; artist of the De- | cadents, 305, 369, 3725 his influence | on P61adan, 322, 323, 324, 325; and | the Androgyne, 3365 Lorrain and, | 339, 346-7, 349> his Salom/, | 405 n.*®4 | Morelli, D., 455 | Moreno, M., 406 n.*22 | Morley, Lord, 243 | Mornet, D., 46 n.3 | Morris, W., 218, 474 | Mottmi, E., 448 | Mount Edgeumb, Earl of, 432 n.*3 | Mouquet, J., 179 n.i43 | Mourey, G., 260, 261, 279 n*s®, 418 | MilUer, W., 172 n.?^ | Murger, H., 137 | Murillo, 120 | Murry, J. Middleton, 274 n.*^ | Music, relation of painting to, 290, | 390 n 3 | Musset, A. de, 28, 163, 451, 4645 and | the regenerated prostitute, 1095 de | Sade’s influence on, 137, 138, 175 | n.*®^; his Confession d*un enfant du | sikle, 138-9, 337, 4ion.*76 | Mysticism, 4565 and exoticism, 200-1, | 202 | Nadar, and Baudelaire, 151, 179 n | Napoleon I, 135, 355 | Nature, Baudelaire on, 1465 Swin- | burne on her laws, 223-4, 225, 279 | n.54j Leopardi on, 279 n*54 | Necrophily, 3, 209; in the Princess | Belgiojoso, 1 2 1, 172 n.®®; in Berlioz, | 1 21 5 in Flaubert, 155; in Schwob, | 357 | Negresses, 44, 50 nn4®» 41,42 | Nenciom, E., 261; his Fatal Woman | derived from Swinburne, 248-50, | 251 | Nerciat, Chevalier de, 478 | Neri, F., 459 | Nero, 157, 162, 173n.8i,2i9, 341, 383, | 4525 de Sade on, i8t n.'^S; Flaubert | and, 182 n.*^3; Lorrain and, 348 | Nerval, G6rard de, 456, 477 | Nevill, R., 430 n.5 | Newman, B., 403 n.^^, 474 | Nicoll, Allardyce, 470 | Nicolson, H., and Swinburne, 213-14, | 238 | Nietzsche, to, 126; D’Annunzio and, | 259, 3875 a sadist, 278 n.so. Gide | influenced by, 365, 367 | Noble bandit, see Rebel type | INDEX | Nocturnal Re^eb, 430 n.s | Nodier, Ch., 27; his Jean Sbogar, 61, | 75> 78? 83 3135 and the vam- | pire, 775 his Helene Gillet, 174 | 198 | Nordau, M., vii | Normandy, G., on Lorram, 47 n.*^^ | 348, 402 n 406 n | Novalis, 145 and the relation between | pain and desire, 28 | Ode to Consumption-, 27 | Offenbach, 301 | Ojetti, U., 407 n.”7 | Olivier, Mme Juste, 398 n.^^ | Onions, C. T., 437 | Onani, Alfredo, 452, 459, 460, 471 | O’Shaughnessy, A., his Fatal Women, | 341 | Otway, T., 439“40> 444» 478 | Ourousoff, Prince Alexander, I79n.i38 | Overbeck, F., 471 | Ovid, 278 xiA^, 473 | Owen, William, 471 | Ozy, Alice (Pilloy, Julie- Justine), 445 | Paganini, N , 43 | Paget, V, (Vernon L^), 431 n.^s, 476 | Pam, Keats’s conception of love as, 274 | n.*7. its connexion with desire, 28 | Painting, its relation to music, 290, | 390 n.3 | Pall Mall Gazette and sadism in Eng- | land, 421-5 | Pan, as an inspiration of sadists, 267 | Parini, 442 | Pascoli, G., 206, 401 n.765 his vision | of Helen, 297 | Pastonno, G. M., 323 | Pater, W., xv, 3, 2137 251? 403 n-®’; | 438, 454, 456, 458, 468, 472, 473, | 474} and the Fatal Woman, 200, | 244, 276 n.3*} and Monna Lisa, | 243-4, 247, 276 n.3o, 400 n.^^} a | forerunner of the Decadent Move- | ment, 341-2; and art and music, | 390 n.3; and the Androgyne, 341-2 | Paulhan, F., 393 n.3® | — , J., on de Sade, ix | Peacock, T, L., 21 | P^adan, J., 152, 199, 307, 340, 381, | 393 n.***, 400 n. 7, 465; and the | Fatal Woman, 244-5, ^5^ 5 | Decadent Movement, 316, 318; | France on, 317; d’’Aurevilly on, | 317-18; and the Hermaphrodite, | 318, 3I9> 320*“5> 33^> 4f>4> and | Russia, 322-5; D’Annunzio and, | 387, 389; and Wagner, 327, 396 | n.6®; and the Princess Belgiojoso, | 397 n 67. and Rops, 408 n isz. and | sadism in England, 427, 430 n.^ | Pellizzi, C., 435 | Pepysf S., 12 | Perceau, L , on Gamtani, iy 6 n | Perino, E., 383 | Perrens, F., 285 n.“® | Persecuted maiden, the, Reybaud on, | 95; Clarissa as a type of, 95-7; in | Faust, 96; in Diderot, 97; de Sade | and, 107; development of the theme | in Europe, 1 10-12; in Mrs. Rad- | cliffe, 1 1 2-1 3; in other women | writers, 113-14; in Shelley’s Cenct, | 1 14-16 ; in Borel, 1 32 ; Wesselowsky | on, 165 n ^ | Perversion, its origin in exaggerated | Romanticism, xii ; its justification by | materialism, 97-8; Baudelaire and, | 144; in Swinburne, 214-15 ; Monck- | ton Milnes and, 215-16, in D’An- | nunzio, 257 | Petrarch, xiv, 6, 15, 220, 245; and the | ‘picturesque’, 19; and the Eternal | Feminine, 203 | Petronius, 357 | Phillips, W. C., 91 | Picturesque, the, use of the term in | France, 13-14, in England, i8 n.*S; | in Hellenistic civilization, 195 of | Italian origin, 19; in landscape | painting, 20-1; m gairden designs, | 21 | Pierre-Quint, L , 185 n.*7i, ig6 n.^^3 | Pilloy, Julie- Justine, see Ozy, Alice | Pindar, 4 | Piranesi, 19 | ‘Pittoresque’, see Picturesque | Planche, G , 184 n.^89 | Plato, 8, 9, 320 | pleasure, its conneiffon with pain, 28 | Poe, E A., XI, 88 n.49, 119, 134, 328, | 372, 379, 419, 438; and the beauty | of strangeness, 46 n.9, 49 n.3s* and | Delacroix, 142 ; on Perversity, 144- | 5, i77n.*^% 368; Baudelaire and. | ^96 INDEX | 144-6, 147, 151, 152, 174 nw*, | 177 n.”®, i84n.*745 and Flaubert, | 1555 D. H. Lawrence on, 178 n.***; | Rossetti and, 2185 Nencioni and, | 248 ; Huysmans compared with, | 309; his influence on de Tlsle- | Adam, 315, 316; Dostoievsky and, | 3365 Wilde’s debt to, 344; his in- | fluence on Schwob, 356; Swinburne | and, 430 n.* | Poetry, and mysticism, 201 ^ | Polidori, Dr. G. G., his The Vampire^ | 76 | Polo, Marco, 5 | Polycleitus, 320 | Pope, A., 478; and romanticism, 12, | 14 | Popelin, C,, 475 | Porch6, F., 451, 467 | Portigliotti, G., 49 n.3o | Powell, G., 418, 419 | Prarond, E., and the synthetic Fatal | Woman, 277 n.3i | Pre-Raphaelites, 201, 202, 2505 their | influence on Swinburne, 217-18, | 2285 the Decadents and, 325, 339, | 349 j Vivien and, 3745 in France, | 3875 Paintings of, 390 n.4 | Pre-I^phaelite Exhibition, 291 | Provost, Abb6, 870.-^35 and the re- | generated prostitute, 108, 109, 173 | n.** | — , M., 170 n.3® | Price, Uvedale, 20 | Pnmaticcio, 321, 398 n.^^ | Primitives, the, 398 n.^7, 405 n.*®3. | Moreau and, 289; Decadents and, | 325, 3395 the Goncourts and, 3475 | and Rops, 369 | Prina, Count, 442 | P;5:ocopius, 262 | Prometheus, Satan’s likeness to, 545 | D’Annunzio and, 2665 Guaita and, | 395 | Prostitutes, Flaubert and, 1565 the | Goncourts and, 455 Schwob and, | 355-6, 357 | Proust, M., 105, n.3+5 anticipated | by Harris, 3 60 ^ and de Montesquieu, | 374 | Psammetichus, 331 | Pushkin, and Orientalism, 205 | Quillard, P., 282 n.^Sj his poem on | Helen, 391 n.*4 | Quilp, J., 410 n.373 | Rachilde, 172 n.8®, 282 n.®*, 330, 331, | 3365 and the Fatal Woman, 267; | and the Androgyne, 332-3; Harris | on, 333-45 sadism in, 334, 335 | Racine, 124 | RadchfFe, Mrs. Ann, 119, i69n.S4, | 448; her romantic criminals, 58-9, | 60, 84n24, 85nn.30.31. Byron’s | debt to, 64, 66, 83 n.*o. her sources, | i69n.545 Manzoni and, i7on.^o. | and the persecuted maiden, 112-13, | 1215 her influence on Guerrazzi, | 282 n.®o | Railo, E., his Study of the Elements of | English Romanticism, 84 nn.^*. *4, | 85 n.32, 87 n.^^, 169 n.s3, 170 n.58, | 1 71 n.^^, 180 n.58, 272 n,4, 276 n.*®, | 404 n ^ | Rais, Gilles de, 98, 106, 127, 185 | n.*o*, 2395 Huysmans and, 3105 | Life of, 31 1, 394 n.'+s, 470 | Ranieri, Antonio, 448 | Raphael, 398 n.^o | Rkuber-, Ritter-, and Schauer-roman- | tik, 120 | Raya, Gino, 448 | Raynaud, E., 175 n.*os, | Realism, vii, 18 nM | Rebel type, the, a descendant of Mil- | ton’s Satan, 57-8, 61, 69, 83 nn.*7»*o. | in Schiller’s Rduber (KarlMoor), 57- | 8, 75; in Mrs. Radcliffe’s Schedoni, | 58-60, 64, 85 nn.3o, 31 5 in Lewis, The | Monk, 60-1 5 in Zschokke’s Abellino, | 61 ; brought to perfection in Byron, | 61-6; in Moore’s Zeluco, 66-7; in | Chateaubriand’s Ren6, 75, 90 n.^* | Reed, A. L., 17 n.** | Regnault, H., his Salome, 301, 392 | n.«o | R6gnier, Henri de, 469 | Rfiichart, W. A., 445 | Reik, T., 153, 180 nn.*5x,is8 | Reimarus, 392 n.*® | Religion, the metaphysicals and, xiii- | xiv; the sadist and, 107; the De- | cadent writers and, 306-8, 352, | 400 n.'y* | Rembrandt, 83 n.*^ | INDEX 497 | Renan, Ary, 452 ; and Moreau, 294-5, | 296, 391 n | Rem, Guido, 449 | Rensselaer, W. lie, 437 | Repton, Humphrey, 21 n.^s | Reybaud, L , 444; on the persecuted | maiden, 95 | Reynaud, L., 68; and Richardson, | 16$ nn.9.115 and Romanticism, 165 | n «  | Reynolds, Sir Joshua, 20 n.^s | Ribera, 83 n .*9 | Richard, E., 470 | Richardson, S , 66, 165 nn.^* 8, 16S | n. 39 , 436, 443; Clarissa as the type | of persecuted maiden, 95-6; his | background of sensuality, 96-7; | Clartssa compared with Montigny’s | Tkerese Phtlosophe, 98 ; his influence | in France, 99-100; derivatives of, | III, 1 17, 165 n. 6, r66 n.^ 9 , 174 n®8 | Richness, Moreau and the Necessity | of, 289, 290 | Richter, H., 87 n 43, 404 n | — , Jean Paul, 14, i74n.94 | Ricketts, Ch., 246 | Rimbaud, 468 | Ripamonti, G., 170 n.ss | Robespierre, 131 | Rochester, 2nd Earl of, 439 | Rohde, E., 83 n .*7 | Rolfe, F, W (Baron Corvo), 475 | RoUinat, M., a literary Rops, 371; | and vampirism, 371-2; his house, | 372; Guaita and, 395 n.ss | Romanesque, distinguished from | ‘romantic’, 13, i7n.^4 | Romantic, as an approximate term, i ; | false applications of the term, 4-5; | the classic-romantic antithesis, 6- | I r; history of the word, 1 1-16; its use | in France, 13; its meaning, 14-155 | distinguished from Romanesque, | 17 n.i4 | — Literature, erotic sensibihty and, | vii, xi, 38 | — Movement, de Sade and, x; in Euro- | pean literature, 8 | Romantics, the, and Milton, 56-7; | their Fatal Men, 58, 74-815 and | Vampirism, 76-8, 209; perversities, | 1065 and the regenerated prostitute, | 108-9; and incest, 1095 and the | recognition scene, 1 13 ; and de Sade, | 126; and the story of the Bleed- | ing Nun, 169 n.55* and the Fatal | Woman, 190-2 ; and exoticism, 201 ; | and Orientalism, 205 | Romantics, French, and Swinburne, | 2185 and the ‘fren6tique’, 337 | Romanticism, vii; Croce on, xi, xii; and | Decadence, xv; distinguished from | Romanesque, 170.14* m the Medusa | conception, 25-75 and the Pleasure | in Pain relationship, 28 ; Borel and, | 136; Baudelaire and, 143-4; its | turning-point with Baudelaire and | Flaubert, 152; Reynaud’s theory of, | 165 n.*2; Delacroix as a representa- | tive of, 289; and its liking for | green eyes, 313, 314; de I’lsle- | Adam and, 315, 316; and the | *fr6netique’, 337; and sadism, 380- | i; its relation to Decadence, 394 | n.47 | Rops, F, 155, 1760.^®^ 323, Huys- | mans and, 305-6; 369, 4080.^52. | the Decadents and, 325, 332, 3725 | the artist of the Decadent Move- | ment, 369-72; and woman as Evil, | 369-705 Guaita and, 39^ n.ss | Rosa, Salvator, and the ‘picturesque*, | i8, 19, 20, 58, 120 | Rosamond, 217, 218 | Rosicrucians, Peladan and, 317, 326, | 393 | Rosny, J. H., 431 n.® | Rossetti, D. G., vii, 1 1 7 ; his preference | for the sad and the cruel, 218; and | Swinburne, 236-7; and Pater, 2435 | and D’Annunzio, 257; his success, | 291 ; Wilde’s debt to, 344 | Rothenstein, W., 320, 397 n.^4. on | Lautrec, 4040.®®; and Montesquioi^ | 409 n | Rouault, G., 462 | Rousseau, J. J , 91 n.^3, 93, 166 n.^a, | 436, 443 ; and the word ‘romantiq ue’, | 13; anticipated by de Montigny, | 99; his ethical theory, 102; and the | regenerated prost^ute, 109; maso- | chism in, 278 n .47 | Rouveyre, A., on Gide, 369, 392 n.^S; | on de Gourmont, 406 n.“®, 408 | n.*48 | Rowe, N., his Fair Penitent^ 95 | k | 498 IJiDEX | Roy^re, J , and Baudelaire? 177 | 179 | Rubens, 282 n.®® | Ruchon, F., 392 n.** | Rudwin, M., 272 n.* | Ruskin, J., 2^7> 47^ | Russia, the Fatal Woman in, 197, 199- | 2005 and Orientalism, 205 ; influence | of Russian novels in France, 322, | 325, 336-40, 382, 387; Dostoievsky, | 401 nn 79,80.81.82 | Sabatier, A., 462 | — , Madame, Baudelaire and, 151, | 179 451 | — , P., and the Goncourts, 410 n.*®^ | 431 n.® | Sacher-Masoch, Leopold von, 214, | 285 n.i3o | Sade, Marquis de, no, ni, 123, 129, | 130, 135, 145, 166 n 23, 167 nn.2^-39, | 168 nn4®-6, i7on.s6, 281 n.^®, 307, | 377> 397 436? 442> 44^» 447> | 448? 453» 454» 457> 4^^? 464? 465? | 469, 476, 478, 479; his influence on | literature, ix-x, 97 j his likeness to | Byron, 80-1 j and the customs of | savage tribes, 98 ; and de Montigny, | 995 the justification of vice as | expressed in Justine and Juliette, | 102-6; Restif de la Bretonne and, | 1075 his characters compared with | Shelley’s Cenci, 114-16; his influ- | ence on the roman-ckarogne, 123; | Janin and, 125-8, 136, 173 n.^s- | his influence on Baudelaire, 137, | 146, X5i; Flaubert and, 152, 153, | 154, 161-2, 184 n.J®2; his growing | influence, 162-3; on public execu- | tions, 17 1 De Quincey and, | 173 n, 84-5 France on, 174 n.®*; on | "'Nero, 181 n.J^3*and Sue, 199; Swin- | burne and, 89n.37, 214, 215, 218, | 222-4, 232-4, 237, 239, 278 nn.5®»53, | 279 n 54, 41$ 5 D’Annunzio com- | pated with, 259, 266 ; and Stendhal, | 274 n.*®; and de Rais, 310; P^ladan | and, 3x8; Rac^ilde and, 334; de | Goncourt and, 166 n.^3, 381; de | Gourmont and, 352; Gide and, | 368-9; compared with Solomon, | 390 n.4j the Russian novel and, 401 | nn.’®*®®; in England, 424-5 | Sadism, xi ; its development in 1 8th and | 19th centuries, xiv; the basis of, 105- | d; the inversion of values and, 106; | and virtue, 106-7; and religion, 107; | in Shelley’s ne Cenct, 114-16; | Maturm on, 117-20; lycanthropy | and, 137; de Viel Castel and, 137, | 175 n.*®7; in Delacroix, 14 1-2; and | ennui, 144; m Flaubert, 154, x6i- | 2; in Baudelaire, 147 et seq,, 177 | n.*23; in Swinburne, 223-5, 226-7, | 232; in D’Annunzio, 254-9, 264-7, | 284 n.*“;m Kleist, 272 n.®; literary, | in Italy, 282 n.®*, in French De- | cadent literature, 306, 307 ; in Huys- | mans, 310; in d’Aurevilly, 313, | 394 n.47. in de I’lsle-Adam, 315; in | Rachilde, 334, 335; in Dostoievsky, | 336; Lorrain and, 339-40> 3495 in | de Gourmont, 352-4; in Schvrob, | 356; in Barr6s, 359; in Gide, 366; | in Verlaine, 378; m the Decadent | Movement, 380; the Russian soul | and, 401 n.®2; m Lautrec, 404 n ®®; | in England, 415-16, 421-9 | Sadists, Promethean attitude of, 267; | female, of the Decadents, 432 n.*® | Sadleir, M., 444 | Sainte-Beuve, C. A., viii, ix, 137, 151, | I74n.®3; and Baudelaire, 43, 143, | 147; on Byron’s debt to Chateau- | briand, 68, 86 n 33. on Byron and | de Sade, 80-1, 122; and Flaubert, | 153, 16 1 ; on de Sade’s influence, | 162-3, ^^55 Sue, 175 n.*®®, 198, | 199; and the Fatal Woman, 191, | 195; on Chateaubriand, 392 n.*®; | on Mademoiselle de Mauptn, 318; | and the Princess Belgiojoso, 398 n.®’ | Saint Gertrude, 353 | Saint- Just, 128 | Saint Paul, 8, 281 n.’3 | Saint Peter, 149 | Saint-Pierre, Bernardm de, no; his | Paul et Virgtnie, 21 1 | Saint Rose of Lima, 343, 364 | Saint-Victor, P. de, 417, 446 | Saint Vincent de Paul, 199, 382, 405 | n.r®8 | Salaino (Salai, A ), 323 | Salom6, 142, 406 461, 462, 476; | as the Fatal Woman, 206, 248, 249, | 262, 267; of Moreau, 291-5, 391 | INDEX | n. 9 ; Wilde and, 298-301, 302-3; | Laforgue and, 301-2, 303, 392 n.^i; | O’Shaughnessy and, 341; Lorram | and, 351; Schwob and, 358-9; | Samain and, y]z\see Herodias | Salvadori, G., 408 | Samain, A., and the Fatal Woman, | 206 ; inspired by Cleopatra, 275 n.265 | inspired by Moreau’s Helen, 296, | 372 *- 3 > 391 anji Lust, 372-3; | his affinity with Vivien, 376, 410 | n.i7i | Sand, George, 102, 137, 266; her debt | to Tke Monk, 112; de Musset and, | 176 and Lesbianism, 319 | Sandys, F , Swinburne and, 241 | Sappho, 226, 230, 250, 251 | Sardanapalus, 141, 153, 157, 373, 383, | 452; Byron and, 87 n-*^; Gautier | and, 204 | Sarrazin, G., 405 n.^^a | Sartorio, A., 392 n *5 | Satan, 101-2, 129, 130, 162, | Milton’s conception of, 51, 54-7, 69, | 85 n. 3 *; Tasso and, 53; Marino on, | 53-4; as the sublime outlaw, 57-6 1, | 66, 79; and Byron’s rebel type, 61, | 73 ; Baudelaire and, 102 ; in Maturin, | 117-18; Lewis and, 193; Menm6e | and, 195; Swinburne and, 230; | Peladan and, 245; in Soulie’s | Mimoires du Diahle^ iz% et seq, | Satanism, Baudelaire and, 10 1-2, 143; | de Sade and, 102; Chateaubriand | and, no, 392 n.285 in D’Annunzio, | 266; Moreau and the beauty of, | 295-6; sadism and, 307; in Huys- | mans, 310, 393 470; in Gide, | 366 | Satanists, Promethean attitude of, | 267 | ‘Satrapism’, 203 | Saunier, Charles, 471 | Scandales de Londres, see Pall Mall | Ga%ette | Scarborough, D., 404 | Schiller, 6, 87 n.-* 3 , pon.^O; on Paradise | Lost) 56-7; his sublime outlaw in | Dte Raubery 57-8, 6t, 66, 75, 83 | nn.i7, 1% 850.29* and the Fatal | Man, 78 ; and the regenerated pros- | titute, 109; and profanation of the | Madonna, 180 n.*s® | Schlegel, A. W. von, 9, 14 | Scholten, W., 449 | Scbongauer, M., 321 | Schopenhauer, 251, 382, 387 | Schubert, 343 | Schwaebl6, R., 470 | Schwob, jM., xn., i8on.is4, 41 1 n ^87, | 463-4, 468; Lorram and, 349; and | the Decadent Movement, 354-9, | 382; his researches, 355-6; as a | sadist, 356; his perverse themes, | 35^”7> 358; and Salome, 358-9; and | Wilde, 407 n.*24 | Scott, Sir Walter, 84n.22, 1720.76, | 313, 471; and the rebel type, 85 | nn. 3 i. 32. his debt to The Monky 1 12, | 170 n.sSj and the ‘tale of terror’, 120 | S6che, A., 49 n 38^ i8o n *^ 5 , 279 n.s6 | — ,L y 176 n.2O0 | SeiMre, E., 17 n.s, 83 n ^ 7 , 410 n | 431 n.*o | Selwyn, G. A., 346, 402n.®3. as a | sadist, 415-16, 429, 430 n.s | Semiramis, 190, 204, 220, 230, 250, | 383 | Seneca, 141, 438, 451, 459, 470 | Sensibility, education of, xiv; ap- | proximate terms, 5; its development | in 1 8th century, ii, 27 | Seventeenth-century writers, their | approach compared with the Ro- | mantics’, 38, 40 | Sex, and the literature of the 19th cen- | tury, vii-viii; and the exotic, 197 | Seylaz, L., 46 n. 9 , j 74 393 n. 36 , | 395 n.56 | Shadwell, T , 432 nJ^y 439 | Shaftesbury, 439 | Shakespeare, 13, 17 nn.2.3, 28, 58, 60, | III, 150, 323, 407x1.130, 436, 438, | 443, 457; interpretation of, 2-3 ; his | characters as a source of Fatal M^h, | 59-60, 84n,22, 870.365 Shelley’s | Cenci and King Lear, 115; the | suffering of virtue in, 165 n. 3 ; Swin- | burne on, 241 ; Tame and, 280 n .39 | Sheba, Queen of, 456 | Shelley, P. B., 4, #11, 31, 46 n.s, 76, | 9on.57, 249, 438, 449; and the | Medusa, 25-6; and pain and | pleasure, 285 on the conception of | Good and Evil, 57, 830,165 his femi- | nine ideal, 88 0 49 * the persecuted | INDEX | maiden in TJie Cench | and incest, n6; D’Annunzio and, | 285 n | Shelley, Mrs., her Frankensteirty 76, | 113-14, 1305 her Falpergay 114. | Sidney, Sir Philip, 19 | Signorelli, L., 325 | Sitwell, S., 4^4 | Smith, Lady Eleanor, 430 n.s | — , Horace, 445 | — , L. Pearsall, 441 5 on ‘romantic’, 1 1, | 13 | Smithers, and Beardsley, 397 n | Sodoma (il), 363, 405 | Solano, A., 405 n.*®® | Sollier, vii | Sologub, T., XVI | Solomon, S., 473 5 painting pf, 390 n.^, | 432 n.*s | Song of Solomon, 44 | Souli6, F., 156, 444, 4459 4^0; and | dc Sade, 128, 137; his Memotres du | Dtable, 128-3 x, ^ 3 ^ | Soupault, P., 185 n.^ 9 ® | Southey, R., 163 | Spain, the Fatal Woman in, 197, 1995 | Barr^s and, 363-45 Samam and, | 3725 Vivien and, 374 | Spare, A. O., 396 n.s^ | Sphinx, Moreau’s pictures of, 296 | Spiers, Chr. H., his Das Petermdnn- | chen, XXI | Stafel, Madame de, on Goethe’s Bride | of Corinthy 79-805 Chateaubriand | and, 86 n .33 | Stampa, S., 170 n.^® | Stanard, Mrs., 438 | Stead, W. T., 421 | Stelzi, G., 121, 172 n.®<> | Stendhal, xSn.”, 122, x 66 n.* 7 , 430 | n.®, 4565 and necrophily, 172 n.®®} | jdiis nostalgia for the ancient world, | 274 n.’^^ 5 and de Rais, 310 | Sterne, L., 125 | Stesichorus, 2x2 | Stevenson, R. L., 344 | Strauss, R., 303 | Street, G. S., 410 n.*73 | Strich, F., and thS ‘classic-romantic* | antithesis, 9-10 | Strindberg, A., 454, 465 | ‘Sturm und Drang*, Lewis and, 615 | and incest, 8 7 n.^s 5 and the Gretchen | tragedy, 169 n.S 3 * death statistics of, | 408 n.*s6 | Sublimation, Barr^s and, 365 | Sue, E., 186 n.*®3, 326, 400 n.^s, 431, | 453; and the romans feudleton, 61, | 78, 120, 172 n.77* and the regener- | ated prostitute, X09} and the recog- | nition scene, 113; influence of de | Sade on, 137, 175 n.*®®5his Latreau- | mont, 184 n.^®^; and the Fatal | Woman, x68 n.so, 191, 197-9; | Louys compared with, X99, 273 n | Suetonius, 3x1 | Suffering, Maturin on, 1x7 | Summers, Montague, v, 441, 444, 449, | 455 | ‘Superwoman*, the, in D’Annunzio, | 259, 261-4; of Glikin, 269 | Surrealists, the, 453; and de Sade, ix, | x; and Ducasse, 163, 185 nn.*®®»*®i | Suso, H., 354 | Swarzenski, G., 472 | Swinburne, A. C., viii, xv, 1x4, 174 | n.9«», 178 n.J3s, 374, 396 n.59, 425, | 449, 456, 457, 458, 472, 473, 4765 | and the Elizabethan dramatists, 36, | 48 n. 24 ; Byron’s influence on, 88 | n. 57 } and de Sade, 89 n.s7, 222- | 4, 232-3, 278 n. 53 , 279 n. 5 +; Dela- | croix compared with, 140, 142, 151 ; | and the persecuted maiden, 169 n.sa. | and the Fatal Woman, 200, 2x3, | 225-6, 228-36, 239, 241, 244, 254; | and female beauty, 203; compared | with Baudelaire, 213; his artistic | personality, 2x3-15; and flagella- | tion, 2x5-17; and the relation of | man to woman, 217; his Mary | Stuart, 2x7, 219-235 and tainted | beauty, 218-295 on nature and | crime, 223-4, 2255 sadism in, 225-8, | 23x5 and incest, 226; his Anactorta, | 227-8, 455; his Dolores, 231-65 and | Jane Faulkner, 236; and Adah | Menken, 236-75 and Liberty, 237- | 8; his influence on Literature, 239- | 43; Wilde’s debt to, 246; Nencioni’s | debt to, 248-50, 2515 his influence | on D’Annunzio, 255, 256, 257, | 259-67, 283 n.*® 3 , 284 n.*<^, 285 | nn.“^» XI5, 387; and Moreau, 290, | 298 5 and Lesbianism, 3 195 his influ- | ence in England, 340-x 5 compared | INDEX | with Barr^s, 363, 3655 compared | with Samain, 373; his influence on | Vivien, 375-6, 409 nn.i 6 ^*i 70 j Ver- | laine and, 380; and Simeon Solomon, | 390 n.45 anticipated by Selwyn, 415 ; | meets de Maupassant, 418-195 por- | trayed by E, de Goncourt in La | Faustin, 419, by J. Lorrain in | EsthiUciti^ 433 n.Jfi, by V. Lee in | Miss Br<ywn, 476; and Poe, 419, | 430 n.S; his national estimation, | 42a, 429 5 Lorrain and, 4275 Peladan | and, 4285 and female sadists, 432 | n.*5 | Symbolism, 201, 202 | Symonds, J. A., 403 n.^^ 474-5 | Symons, A., 342, 390 n .4 | Tailhade, L., 317 | Tame, H., on Milton’s Satan, 56; and | the Elizabethan dramatists, 280 n .59 | ‘Tale of terror’, the, 58-61, 84 n,*^, | 87 n. 3 <i, 170 n.S95 Its invention, 1125 | in Greece, 1 70 5 in Maturin, 1 16 ; | in France, 120-1, 1225 its translation | into real life, 121; m Meinhold, | 2X8 | Talma, 93 | Talman, F., 332 | Tarn, Pauline, see Vivien, Rente | Tasso, T., 6, 32, 33, 37, 47 194, | 226, 312, 321, 4395 and Beauty and | Death, 32-65 his idea of Satan, 53, | 54; Chateaubriand and, 195 | Tell^n, J. M., 87 n.44 | Terms, literary, use of, i, 3, 5-7, 12, 16 | Thackeray, 91, 444-5 | Theodora, 1S2 n.^® 3 , 21 1, 262, 383 | Thirhe Pktlosophe^ Clarissa compared | with, 98-95 de Sade and, 1025 | Dostoievsky and, 166 n.*^ | Thomson, J,, 18 n.*s | Thovez, E., 252, 2820.^4, 396 n.^®, | 406 n.”s | Thucydides, 392 n.*7 | Tiberius, 442 | Tilly, P. A, de, 49 n.37, 100 | Tillyard, E. M. W., 82 n .*4 | Tolstoy, L., 400 n .73 | Tommaseo, N., 172 n.^® | Toorop, J., 346, 349, 405 n.*®i | Torquemada, 3x4, 315 | Toukt, P, J., 279 n.S3, 3:5^, 410 n.*^5 | and sadism in England, 124, 4245 | sadism in, 380 | Toulouse-Lautrec, H. de, 320, 3465 | his appearance, 404 n .®9 | Tourneur, C., 357 | Trevelyan, R. C., 272 n.^ | Tr6ogate, Loaisel de, his Comtes^e | d*Altbrej 170 n.s® | Tristan I’Hermite, 48 n.^® | Trompeo, P. P., 170 n.ss | Trudgian, Helen, 450, 469 | Turqu 3 t-Milnes, G., 403 n.®* | Twain, Mark, 41 1 n.*84* Schwob | influenced by, 356 | Tymms, Ralph, 475 | Ustick, W. I^, 437 | Valerini, A., 459 | Vakry, P , on ‘classic’ and ‘romantic*, | 8-95 and Mallarme, 303, 3385 on | Huysmans, 308 | Valle-InclAn, R. del, 443, 453, 456, | 469 | Vampirism, 454, 4775 Byron and, 765 | the Romantics and, 76-8 5 Poe and, | X455 m Baudelaire, 1505 in Gautier, | 207-X0; in Flaubert, 2105 in Swin- | burne, 220-15 RoUinat and, 371 | Vanbrugh, Sir John, and the ‘pictu- | resque’, 19 | Van Dyck, and Brignole-Sale, 49 n. 3 ® | Varende, J. de la, 470 | Vasari, G., 19 nM | Vathek, 193, 20 x | Vauvenargues, Marquis de, 32, 47 | n.i 4 , 71 | Veblen, Thorstein, 468 | Velasquez, 404 n.®® | Veneto, Bartolomeo, 472 | Venturi, A., 399 n | Verhaeren, E., 475 ^ | Verlaine, P., vii, 326, 4x0 n.*'?®, 467 5 | his confused Christianity, 307-85 | and Lesbianism, 3195 and the Deca- | dent Movement, 378-80, 38 x | Vicaire, G., and parody of the De- | cadents, 376-7 | Viel Castel, Comffe H. de, on de | Sade’s influence, X37, X75 n.*®^ | Vigte-Lebrun, Mme, 471 | Villon, F., 204, 2095 Schwob and, | 355 |

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