Abstract
In characterising the literature of the 1890s, literary historians have tended to use descriptions, explanatory models, and even metaphors which have been derived in the first instance from French literary history. Mallarmé and Baudelaire, Huysmans and Zola, Degas and Manet, and movements such as Symbolism, Naturalism and Impressionism — it is from these French examples that models of English literary history are derived. French precedents are used to construct the types or the categories of literary history which can then be applied on a fairly wholesale basis to other cultures, especially to that of Britain.1 One consequence of such a methodology is that the British counterparts of French prototypes are invariably seen as shadows of the ‘real thing’: so, for example, in the 1890s, English poetry, particularly that of Ernest Dowson, Lionel Johnson, and Arthur Symons, is often seen as derivative of French models. The limitations of such a strategy are most clearly in evidence, however, in descriptions of literary radicalism. Generally speaking, nineteenth-century French culture is seen as determining the underlying patterns of artistic radicalism: indeed it is commonly perceived as possessing something of a monopoly of cultural or artistic iconoclasm.
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Notes
For an example of such a strategy, see R. K. R. Thornton, The Decadent Dilemma (London: Edward Arnold, 1983).
See Hilton Kramer, The Age of the Avant-Garde (London: Seeker & Warburg, 1974).
For a discussion of the relationship between the French Revolution and literary and artistic radicalism in France and Britain see Ian Small and Josephine Guy, ‘The French Revolution and the Avant-Garde’ in Ceri Crossley and Ian Small (eds), The French Revolution and British Culture (Oxford: Oxford University Press, 1989) pp. 141–5
Josephine Guy, The British Avant-Garde: The Theory and Politics of Tradition (Hemel Hempstead: Harvester-Wheatsheaf, 1991).
Charles Kingsley, The Limits of Exact Science as Applied to History (Cambridge: J. H. Parker and Son, 1860) p. 17.
See, for example, Peter Bürger, Theory of the Avant-Garde (Manchester: Manchester University Press, 1984).
See Josephine Guy, ‘The Concept of Tradition and Late Nineteenth-Century British Avant-Garde Movements,’ Prose Studies, 13 (1990), pp. 250–60.
Matthew Arnold, Culture and Anarchy, ed. J. Dover Wilson (1932; Cambridge: Cambridge University Press, 1960) p. 133.
For a different but related view of Arnold’s rhetorical strategies, see John Holloway, The Victorian Sage (London: Macmillan, 1953).
For a further account of Pater’s use of quotation, see William F. Shuter, ‘Pater’s Reshuffled Text’, Nineteenth-Century Literature, 31 (1989), 500–25.
For a more detailed discussion of the audience(s) of nineteenth-century works, see Ian Small, ‘Annotating “Hard” Nineteenth Century Novels’, Essays in Criticism, 36 (1986), 281–93.
The influence of individual French writers on individual British writers was of course widespread and has been noticed by a number of critics. See, for example, Patricia Clements, Baudelaire and the English Tradition (Princeton, N.J.: Princeton University Press, 1985)
John J. Conlon, Walter Pater and the French Tradition (London: Asociated University Presses, 1982).
See John Stokes, In the Nineties (Hemel Hempstead: Harvester-Wheatsheaf, 1989).
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© 1992 Ian Small
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Small, I. (1992). Literary Radicalism in the British Fin de Siècle. In: Fin de Siècle/Fin du Globe. Warwick Studies in the European Humanities. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-22421-0_12
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