60 Sentences With "decadents" | Random Sentence Generator

Sure, Genji and his pals were relentless decadents, the .

It was where the decadents and Oscar Wilde ended up.

She describes not only the three women, but an enormous cast of the dandies, decadents, artists, writers, musicians and financiers of the fin de siècle.

The term appeared in the poetry of the Decadents and Romantics but often to describe physical repulsion, in fact, it was also used before the Great War as a medical term for a loss of control of the body.

Frontiersmen like Martin Picard, Fred Morin, and Dave McMillan have made Montreal a global destination for decadents seeking food that evokes romantic images of fur trappers eating whole hogs and foie gras and washing it all down with biodynamic wines from France.

" PROUST'S DUCHESS: How Three Celebrated Women Captured the Imagination of Fin-de-Siècle Paris, by Caroline Weber (Alfred A. Knopf) Weber "describes not only the three women, but an enormous cast of the dandies, decadents, artists, writers, musicians and financiers of the fin de siècle," our reviewer wrote, adding that "while the book is long and weighty, it is never dull.

Issues 1-14 featured a column titled "The Decadent World-View" by Brian Stableford, analyzing texts which provided particular influence on the French Decadents, particularly Charles Baudelaire.

Other such decadents were Epicureans, Christians, Pascal, and Flaubert. Nietzsche, in contrast, celebrated the egoistical Dionysian Greek who affirmed life in spite of its many horrors and terrors.

Bryer, Jackson R. (ed.) 16 Modern American Authors, Vol. 2. Duke University Press, 1989. Forster, Edward (ed.) Decadents, Symbolists and Aesthetes in America: an Anthology. Talisman House Publishers, 2001.

Hans Haym later wrote, "This is not a work for a wide public, but rather for a smallish band of musical isolates who are born decadents and life's melancholics".

He later went abroad to devote himself to his literary work. Inspired by the Pre-Raphaelites and decadents,Whittle, Amberys R. Trumbull Stickney. Page 49. Bucknell University Press, 1973.

Jewish, and subsequently--to a greater degree--Christian, priests survived and attained power by siding with decadents, Nietzsche claims. They turned against the natural world. Their "instincts of ressentiment" against those who were well- constituted led them to "invent an other world in which the acceptance of life appeared as the most evil and abominable thing imaginable."The Antichrist, §24 In order to survive, the Jewish priests made use of the decadents and their large population.

Saint of the Pit is the second instalment of her "Masque of the Red Death" trilogy about the AIDS epidemic. In this instalment, she focuses on musical settings of poems by French Decadents.

The latter contained an introduction by fellow Uranian John Gambril Nicholson. Murray also wrote a bibliography of Austin Dobson, published in 1900. Murray worked as a printer, bookseller and publisher in Brompton Road, London.Nelson, James G. Publisher to the Decadents: Leonard Smithers in the Careers of Beardsley, Wilde, Dowson.

The term "symbolist" was first applied by the critic Jean Moréas, who invented the term to distinguish the Symbolists from the related Decadents of literature and of art. Distinct from, but related to, the style of literature, symbolism in art is related to the gothic component of Romanticism and Impressionism.

George Slythe Street (18 July 1867 – 31 October 1936) was a British critic, journalist and novelist. He was born in Wimbledon, London on 18 July 1867. He was associated with William Ernest Henley and the 'counter-Decadents' on the staff of the National Observer.Beckson, Karl E. Oscar Wilde: the Critical Heritage.

Guy Thorne, The Great Acceptance: The Life Story of F. N. Charrington, Thorne was a close friend of the publisher Leonard Smithers and a friend of the poet Ernest Dowson.James G. Nelson, Publisher to the Decadents: Leonard Smithers in the Careers of Beardsley, Wilde, Dowson. Pennsylvania State University Press, 2000. He was known for his heavy drinking.

In France, the Decadent movement could not withstand the loss of its leading figures. Many of those associated with the Decadent movement became symbolists after initially associating freely with decadents. Paul Verlaine and Stéphane Mallarmé were among those, though both had been associated with Baju's Le Décadent for a time. Others kept a foot in each camp.

121–123 which features the celebrated Victorian transvestite duo of Boulton and Park as characters,Ronald Pearsall (1971) The Worm in the Bud: The World of Victorian Sexuality. London, Penguin: 561-8 and Teleny, or The Reverse of the Medal (1893).Nelson, James. Publisher to the Decadents: Leonard Smithers in the Careers of Beardsley, Wilde, Dowson.

Hubert Crackanthorpe tried to convince Grant Richards to join him in buying The Savoy but the plan never came to fruition. The magazine folded in December 1896 with its eighth issue.Nelson, James G. Publisher to the Decadents: Leonard Smithers in the Careers of Beardsley, Wilde, Dowson. University Park, PA: The Pennsylvania State University Press, 2000: 88.

Nelson, James. Publisher to the Decadents: Leonard Smithers in the Careers of Beardsley, Wilde, Dowson. Philadelphia: Pennsylvania State University Press, 2000Robert Gray and Christopher Keep, "An Uninterrupted Current: Homoeroticism and collaborative authorship in Teleny", in Marjorie Stone, Judith Thompson (edd) "Literary Couplings: Writing Couples, Collaborators, and the Construction of Authorship", University of Wisconsin Press, 2007, , p.193Edouard Roditi, "Oscar Wilde", New Directions Publishing, 1986, , p.

David Schimmelpenninck van der Oye, Russian orientalism: Asia in the Russian mind from Peter the Great to the emigration, New Haven: Yale UP, 2010, p. 211 (online). Though the aesthetics of the styles can be considered similar in some ways, the two remain distinct. The symbolists were those artists who emphasized dreams and ideals; the Decadents cultivated précieux, ornamented, or hermetic styles, and morbid subject matters.

156-57); Gautier identified him as "the modern proletarian, the pariah, the passive and disinherited being" (V, 24). And subsequent artistic/cultural movements found him equally amenable to their cause: the Decadents turned him, like themselves, into a disillusioned disciple of Schopenhauer, a foe of Woman and of callow idealism; the Symbolists saw him as a lonely fellow-sufferer, crucified upon the rood of soulful sensitivity, his only friend the distant moon; the Modernists converted him into a Whistlerian subject for canvases devoted to form and color and line.On Pierrot in the art of the Decadents and Symbolists, see Pantomime and late nineteenth-century art; for his image in the art of the Modernists, see, for example, the Juan Gris canvases reproduced in Works on canvas, paper, and board. In short, Pierrot became an alter-ego of the artist, specifically of the famously alienated artist of the nineteenth and early twentieth centuries.

The Yearbook of English Studies 37.1 (2007): 22–40. . while his own works influenced French and English artists through the use of modernity and symbolism. Baudelaire influenced other French artists like Arthur Rimbaud, the author of René whose titular character displays the mal du siècle that European youths of the age displayed. Baudelaire, Rimbaud, and their contemporaries became known as French decadents, a group that influenced its English counterpart, the aesthetes like Oscar Wilde.

601; Nastasă (2007), p.533 Eugen Lovinescu, who moved between currents and later became a figure of eclectic modernism, is also known to have tried his hand at becoming a Sămănătorul contributorNastasă (2007), p.428 Nicolae Manolescu, "Lovinescu şi Tabla de valori a modernităţii româneşti interbelice" , in Cuvântul, Nr. 351 and even to have supported the 1906 campaign against French influence. For part of its existence, the magazine even hosted translations of texts by French Symbolists, decadents or Parnassians.

Smith met Pound, then a freshman at the University of Pennsylvania, in 1901 or 1902, when the latter was aged sixteen. The two became friends, in one of Pound's first true friendships. As Smith was an avid reader, he introduced Pound to the works of English decadents such as Oscar Wilde and Aubrey Beardsley; this included gifting Pound a copy of Wilde's Salome. Smith's sister had given him a copy of Edward FitzGerald's The Rubaiyat, containing works by Sufi writer Omar Khayyam.

The decadents, Barnitz wrote, though they "do not lecture at Harvard", "seem to me the most delightful of contemporary French writers." "All these slaves of the opal," Barnitz goes on, "as one of their obscurest members proclaims them, with their one great man (Verlaine) and their hundred pathetic poets, it is surely a fitting thing to admire. "How nice of them,' one feels like saying, 'to be so dear!' They have not produced a new art, but they have amused.

Hirsch recounts three further repetitions of this "identical ceremony" before the package made its way back to Wilde. Hirsch defied the strict instructions not to open the package while it was in his care, and claims that it was written in several different hands, which lends further support to his supposition that it was authored in "round robin" style by a small group of Wilde's intimate associates.Nelson, James. Publisher to the Decadents: Leonard Smithers in the Careers of Beardsley, Wilde, Dowson.

These carnivals began as fundraisers for scholarships in order for black students to attend recently desegregated schools in southern Ontario. Emancipation Day Parades began to celebrate the liberation of slaves throughout the Americas and were largely observed around the same time as the Calypso Carnivals. The founders of this parade were largely decadents of fugitive slaves and other black American immigrants. The parades were marked as a black victory over the British and operated as a military-style event, displaying military regalia, marching bands, and drum corps.

Los Auténticos Decadentes (Spanish for "The Authentic Decadents") is an Argentine band that mixes ska with Latin American rhythms. The band was formed around the year 1986 by Cucho and Nito, who invited Gastón to join them. Their first hit was Veni Raquel, which set the tone for the irreverence and ironic humor of their later lyrics. Many of their songs are classic anthems of the Argentine nightlife, such as Corazón, Loco (Tu Forma de Ser), Entregá el Marrón, La Guitarra and El Murguero.

The ability of Rops to see and portray the same world as they did made him a popular illustrator for other decadent authors. The concept of decadence lingered after that, but it wasn't until 1884 that Maurice Barrès referred to a particular group of writers as Decadents. He defined this group as those who had been influenced heavily by Baudelaire, though they were also influenced by Gothic novels and the poetry and fiction of Edgar Allan Poe. Many were associated with Symbolism, others with Aestheticism.

Aubrey Beardsley's "Fruit Bearers" from The Savoy, 1896 The Savoy was founded as a competitor to The Yellow Book and to provide work for members of the Decadent movement as it began to decline with the imprisonment of Oscar Wilde.Nelson, James G. Publisher to the Decadents: Leonard Smithers in the Careers of Beardsley, Wilde, Dowson. University Park, PA: The Pennsylvania State University Press, 2000: 4. The magazine was started by Leonard Smithers, writer Arthur Symons (The Symbolist Movement In Literature) and artist Aubrey Beardsley.

Vrubel's madness attracted the attention of the press; however, the reviews were mostly negative. For example, the newspaper Russian leaflet published the article "Mental Decadents" that led to the official statement of denying. Soon, the established painters started to publish articles where they claimed that The Demon Downcast has something that needs to be in every true artistic composition. Alexandre Benois also changed his opinion on Vrubel’ paintings; he even added an emotional passage about the true poetic natureof Vrubel's paintings to his book "History of Russian XIX century Art".

Ezra Pound (1885–1972) studied Romance languages and literature, including French, Italian, Provençal, and Spanish at the University of Pennsylvania and Hamilton College. In these studies Pound—long interested in poetry—had gained an interest in turn-of-the-century English poetry. Pound dedicated A Lume Spento to Philadelphia artist William Brooke Smith, one of his friends, who had recently died of tuberculosis. The two had met in 1901–02, and Smith—an avid reader—introduced Pound to the works of English decadents such as Oscar Wilde and Aubrey Beardsley.

The first stage of making the case for Symbolism is an aggressive and frank definition of the movement, its beliefs and priorities. As a reaction against the authority of rational naturalism, the manifesto describes symbolists as enemies "of education, declamation, wrong feelings, [and] objective description." As a reaction against the newly self-styled decadents, the manifesto goes on to stipulate the primacy of "the Idea". The purpose of creativity is to find an appropriate way to subjectively express the Idea through extravagant analogy, using natural and concrete things to obliquely reference "primordial Ideas".

Far-fetched plots were acceptable if they helped generate the desired moments of salacious experience or glorification of the morbid and grotesque. Writers who embraced the sort of decadence featured in Le Décadent include Albert Aurier, Rachilde, Pierre Vareilles, Miguel Hernández, Jean Lorrain and Laurent Tailhade. Many of these authors did also publish symbolist works, however, and it unclear how strongly they would have identified with Baju as decadents. In France, the Decadent movement is often said to have begun with either Joris-Karl Huysmans' Against Nature (1884) or Baudelaire's Les Fleurs du mal.

Even Jean Moréas used both terms for his own group of writers as late as 1885. Only a year later, however, Jean Moréas wrote his Symbolist Manifesto to assert a difference between the symbolists with whom he allied himself and this the new group of decadents associated with Anatole Baju and Le Décadent. Even after this, there was sufficient common ground of interest, method, and language to blur the lines more than the manifesto might have suggested. In the world of visual arts, it can be even more difficult to distinguish decadence from symbolism.

Upon its release, though, The Collection of Poems. 1889–1903 was unanimously praised only by a small group of art and literary critics belonging to the Modernist group (held derogatively as 'decadents' by detractors) and almost unanimously panned by those belonging to the 'traditionalist' camp. The latter, who were in the majority (and for a rare occasion united critics from all sides of the political specter, including the left radicals and the right- wing conservatives), attacked both Gippius and the 'new Art' in general. The Marxist critic and philosopher Vladimir Shulyatikov described The Collected Poems.

"Poets of the Modern Style. Novoye Vremya December 3, pp.9-10 // Поэты "стиль-модерн" // Новое Время. Лит. приложение. 1903. No 9968, 3 декабря. С. 9-10. Of all the mainstream reviews the most balanced is considered to be that of the poet and critic Alexander Izmaylov who in his essay "The Mystical Poetry of the 20th Century" gave the book a positive review, calling its poems the "sincere and noble searching of an inquisitive spirit, having nothing to do with the low-brow quackery which the first-wave decadents were feeding us with.

After moving to Europe, he continued his career as a model, commercial actor and theatrical actor in the film Way Down released in November 2020, starring Freddie Highmore, Luis Tosar and Famke Janssen. He continues his work as an actor and radio producer for free-form radio storytelling. Darrow went on to play in Hollywood Rose, the pre-Guns N' Roses band that featured Axl Rose and Izzy Stradlin. Before joining Super Heroines, Darrow played in punk trio The Decadents (later changed to 'The Decadent' ) with Jill Emery, from 1978-1982.

Retrieved on 2008-05-03. Due to the ancient stories about him, he often appears in literature and other creative media as a decadent figure (becoming something of an anti-hero in the Decadent movement of the late 19th century, and inspiring many famous works of art, especially by Decadents) and the epitome of a young, amoral aesthete. The most notable of these works include:For detailed lists of the appearance of Elagabalus in various media, and a critical evaluation of some of these works, see Icks (2012), pages 219–224.

After this uncompromising book it became impossible to continue to paint the Russian peasantry life in the idealised, narodnik-style way, Bunin single-handedly closed this long chapter in Russian literature. He maintained the truly classic traditions of realism in Russian literature at the very time when they were in the gravest danger, under attack by modernists and decadents. Yet he was far from "traditional" in many ways, introducing to Russian literature a completely new set of characters and a quite novel, laconic way of saying things. Dry Valley was regarded as another huge step forward for Bunin.

His freshest and best work is his Emaux bressans (1884), a volume of poems full of the gaiety and spirit of the old French chansons. Other volumes followed: Le Livre de la patrie, L'Heure enchantée (1890), A la bonne franquette (1892), Au bois joli (1894) and Le Clos des fées (1897). Vicaire wrote in collaboration with Jules Truffier two short pieces for the stage, Fleurs d'avril (1890) and La Farce du marl refondu (1895); also the Miracle de Saint Nicolas (1888). With his friend Henri Beauclair he produced a parody of the Decadents entitled Les Deliquescences and signed Adoré Floupette.

168 Neither Wilde's authorship nor editorship has ever been ascertained. By 1893, the manuscript had made its way into the hands of Leonard Smithers, who since 1892 had been in business with Harry Sidney Nichols, Smithers serving primarily as an "entrepreneurial" liaison between "authors, publishers, and distributors". Smithers and Nichols were aligned with William Lazenby, Edward Avery, and Charles Carrington, in a small and tightly interwoven group of late Victorian publishers heavily involved in the production and distribution of pornography in London and Paris. Smithers worked extensively in the 1890s with Wilde and his circle, as is indicated by the title of James Nelson's book on Smithers, Publisher to the Decadents.

The writings of Charles Baudelaire were also an influence, so Laermans joined the Decadent movement in 1890 and created illustrations for Baudelaire's book Les Fleurs du mal. By 1893, his work resembled that of Bruegel rather than the decadents, and he had settled on his signature theme, portrayals of downtrodden laborers and poor peasants which some critics saw as "disturbing caricatures". In 1894, he began to exhibit at the Salons of La Libre Esthétique. Two years later, he illustrated La Nouvelle Carthage, a novel by Georges Eekhoud, and was inspired by the book to create a triptych of paintings, "Landverhuisers" (Emigrants), that he considered his masterpiece.

At the Moulin Rouge (1895), a painting by Henri Toulouse-Lautrec that captures the vibrant and decadent spirit of society during the fin de siècle The works of the Decadents and the Aesthetes contain the hallmarks typical of fin de siècle art. Holbrook Jackson's The Eighteen Nineties describes the characteristics of English decadence, which are: perversity, artificiality, egoism, and curiosity. The first trait is the concern for the perverse, unclean, and unnatural. Romanticism encouraged audiences to view physical traits as indicative of one's inner self, whereas the fin de siècle artists accepted beauty as the basis of life, and so valued that which was not conventionally beautiful.

Mackie, the nonchalant, smooth-talking gangster, expert with the switchblade, personifies the bitter-sweet strain of cool; Puritanism and sentimentality are both anathema to the cool character. During the turbulent inter-war years, cool was a privilege reserved for bohemian milieus like Brecht's. Cool irony and hedonism remained the province of cabaret artistes, ostentatious gangsters and rich socialites, those decadents depicted in Evelyn Waugh's Brideshead Revisited and Christopher Isherwood's Goodbye to Berlin, tracing the outlines of a new cool. Peter Stearns, professor of history at George Mason University, suggests that in effect the seeds of a cool outlook had been sown among this inter-war generation.

After the abolition of the Sultanate and the position of shaykh al-Islām in 1922, published his Al- Nakir 'ala Munkiri al-Ni'ma min al-Din wa-al-Khilafa wa-al-Umma () Completed before the abolition decision was made, Sabri's book mentioned the fate of the caliphate very briefly at the conclusion of his work, only as an additional proof for the arguments already advanced in the book. This work is a strong attack on the Kemalists and their evolving vision for post-Ottoman Turkey. Sabri presents the Kemalists as decadents, Turkish chauvinists who colluded with the British against Islam and the caliphate, and Kemal Atatürk as a concealed Jew.

Matt Cook, London and the Culture of Homosexuality, 1885-1914 (Cambridge University Press, 2003), , 19-22Melissa Hope Ditmore, Encyclopedia of Prostitution and Sex Work (Greenwood Publishing Group, 2006), , 442 He was an associate of Edward Avery and Leonard Smithers.James Nelson, Publisher to the Decadents: Leonard Smithers in the Careers of Beardsley, Wilde, Dowson (Pennsylvania State University Press, 2000) He was prosecuted in 1871 and again in 1881. After the Post Office (Protection) Act 1884, Lazenby together with other publishers such as Edward Avery, Charles Carrington, and Harry Sidney Nichols, moved much of their business to Paris to sell in the United Kingdom by mail order.

Some writers, such as Joris-Karl Huysmans, began as naturalists before becoming symbolists; for Huysmans, this change represented his increasing interest in religion and spirituality. Certain of the characteristic subjects of the Decadents represent naturalist interest in sexuality and taboo topics, but in their case this was mixed with Byronic romanticism and the world-weariness characteristic of the fin de siècle period. The Symbolist poets have a more complex relationship with Parnassianism, a French literary style that immediately preceded it. While being influenced by hermeticism, allowing freer versification, and rejecting Parnassian clarity and objectivity, it retained Parnassianism's love of word play and concern for the musical qualities of verse.

Later, however, he described the Decadent movement as an "interlude, half a mock interlude" that distracted critics from seeing and appreciating the larger and more important trend, which was the development of Symbolism. It is true that the two groups share an ideological descent from Baudelaire and for a time they both considered themselves as part of one sphere of new, anti-establishment literature. They worked together and met together for quite a while, as if they were part of the same movement. Maurice Barrès referred to this group as decadents, but he also referred to one of them (Stéphane Mallarmé) as a symbolist.

In fact, Stephen Romer has referred to Félicien Rops, Gustave Moreau, and Fernand Khnopff as "Symbolist-Decadent painters and engravers." Nevertheless, there are clear ideological differences between those who continued on as symbolists and those who have been called "dissidents" for remaining in the Decadent movement. Often, there was little doubt that Baju and his group were producing work that was decadent, but there is frequently more question about the work of the symbolists. In a website associated with Dr. Petra Dierkes-Thrun's Stanford University course, Oscar Wilde and the French Decadents (2014), a student named Reed created a blog post that is the basis for much of what follows.

See also Chendi, p.63 The mix of Symbolists and socialists was described as ineffectual by the traditionalist witness Chendi, who, in 1912, argued: "Mr. Cocea wanted to break through and resorted to our young Decadents and Symbolists in Bucharest, who nevertheless, having not one thing in common with the doctrines of socialism, could not pay as much service to the magazine [Viața Socială] as to prevent from going under, in explicable manner." In Cocea's case, this opening toward modern art was motivated by his generic interest in cultural innovation, explained by him as a wish to surpass both "antiquated artistic formulas" and "the laws of nature".

The Dancers at the End of Time is a series of science fiction novels and short stories written by Michael Moorcock, the setting of which is the End of Time, an era "where entropy is king and the universe has begun collapsing upon itself". The inhabitants of this era are immortal decadents, who create flights of fancy via the use of power rings that draw on energy devised and stored by their ancestors millions of years prior. Time travel is possible, and throughout the series various points in time are visited and revisited. Space travellers are also common, but most residents of the End of Time find leaving the planet distasteful and clichéd.

As patriotic, but muted and focused on every-day reality, values and slogans preached by Sienkiewicz's generation (such as gradual work for the improvement of socio-economic status of peasants) seemed for the young as too earthbound, many claimed that a pursuit for a personal happiness is what interest them more than public affairs. Even founders of the Polish positivism became by that time disappointed by the underwhelming effects of their work and worsening situation of Polish society in general, as can be seen in other novels of that time, including The Doll by Bolesław Prus. Sienkiewicz believed that such selfish attitude leads to unacceptable lapses in ethical behavior and has to be condemned. He intended to demonstrate the true motivations of the decadents in order to lampoon them.

Symons attempted to distance the magazine from the Decadent movement and the controversy surrounding Wilde by writing, "We are not Realists, or Romanticists, or Decadents" in his editorial note in the first issue. However, he went on to write, "For us, all art is good which is good art", which is very similar to the Decadent creed of "art for art's sake." "The Shadow of Oscar Wilde: A Study of Subversive and Clandestine Sexuality in Four Novellas from The Savoy" by Matthew Brinton Tildesley Yeats, who contributed several pieces to the magazine, described its fellow writers as "outlaws" and believed that the magazine waged "warfare on the British public at a time when we had all against us".Ross, David A. Critical Companion to William Butler Yeats: A Literary Reference to His Life and Work.

Cemetery at Llanafan Church The present structure was remodelled in 1832.Church Plans Online It is unclear when it was originally constructed, although a structure most probably existed much further back in time as the lands surrounding the church have belonged to the Vaughan family of Trawsgoed and their decadents since the 1200. As explained by Samuel Lewis, 1833: > The church is an ancient structure, consisting of a nave, chancel, and south > transept; part of the ancient screen which separated the chancel from the > nave is still remaining, and exhibits an elegant specimen of carved work; > the ancient font, octangular in form, is also preserved. Among the communion > plate is a curious ancient dish of silver, gilt, and embossed with twelve > figures, of which ten represent warriors, and the other two dragons; all are > arranged in couples, and engaged in combat.

She was published in the pages of La Décadence, which was formed as a symbolist- leaning rival to Anatole Baju's Le Décadent, but then she was also published in Le Décadent. In fact, despite the symbolist qualities of much of her work and her close association with that group, Rachilde actively opposed an attempt by the symbolists to take over the more explicitly decadent publication. Maurice Barrès certainly put her in the company of the early decadents when he described as writing as a dream-like extension of life, intending primarily to titliate but also to explore la maladie du siècle, the ennui and disillusion of the age, which in women was known at the time to result in hysteria. Her writing embraced or at least explored many different forms of sexuality at odds with the morals and expectations of her society, often shocking for its depravity rather than any explicit descriptions: prostitution, cross-dressing, gender ambiguity, homosexuality, sadism, incest, bestiality, Pygmalionism, and necrophilia, and more.

Fortunately, the poem sold very well and very quickly, and caused such a stir that subsequent printings also sold well for more than a year, assuring Wilde of a steady income which he did not outlive, as he died less than four years after the Ballad first appeared.Nelson, James G., Publisher to the Decadents: Leonard Smithers in the careers of Beardsley, Wilde, Dowson (2000, Pennsylvania State Univ.) chapt. 6, pages 173–224; Harris, Frank, Oscar Wilde: His Life and Confessions (1916, NY) vol. 2, pages 387–400; Ingleby, Leonard Cresswell, Oscar Wilde (1907, London) pages 283–298 (the line quoted is on page 286); Mason, Stuart, Bibliography of the Poems of Oscar Wilde (1907, London) pages 76–84; Mason, Stuart, Bibliography of Oscar Wilde (1914, London) pages 407–423. It has been suggestedMaston, Stuart, Bibliography of the Poems of Oscar Wilde (1907, London) pages 80–81; Harris, Frank, Oscar Wilde: His Life and Confessions (1916, NY) vol.

In Belgium, where the Decadents and Symbolists were as numerous as their French counterparts, Félicien Rops depicted a grinning Pierrot who is witness to an unromantic backstage scene (Blowing Cupid's Nose [1881]) and James Ensor painted Pierrots (and other masks) obsessively, sometimes rendering them prostrate in the ghastly light of dawn (The Strange Masks [1892]), sometimes isolating Pierrot in their midst, his head drooping in despondency (Pierrot's Despair [1892]), sometimes augmenting his company with a smiling, stein-hefting skeleton (Pierrot and Skeleton in Yellow [1893]). Their countryman the poet Albert Giraud also identified intensely with the zanni: the fifty rondels of his Pierrot lunaire (Moonstruck Pierrot [1884]) would inspire several generations of composers (see Pierrot lunaire below), and his verse-play Pierrot-Narcissus (1887) offered a definitive portrait of the solipsistic poet-dreamer. The title of choreographer Joseph Hansen's 1884 ballet, Macabre Pierrot, created in collaboration with the poet Théo Hannon, summed up one of the chief strands of the character's persona for many artists of the era.