Aesthetes and Decadents of the 1890s: An Anthology of

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The classy and Decadent flow of the past due nineteenth century spawned the assumption of "Art for Art's Sake," challenged aesthetic criteria and stunned the bourgeosie. From Walter Pater's learn, "The Renaissance to Salome, the really decadent collaboration among Oscar Wilde and Aubrey Beardsley, Karl Beckson has selected a whole spectrum of works that chronicle the British inventive fulfillment of the Eighteen Nineties. during this revised version of a vintage anthology, "The Ballad of studying Gaol" has been incorporated in its entirety; the bibliography has been thoroughly up-to-date; Professor Beckson's notes and observation were extended from the 1st variation released in 1966. The so-called Decadent or Aesthetic interval continues to be some of the most attention-grabbing within the background of the humanities. The poetry and prose of such writers as Yeats, Wilde, Symons, Johnson, Dowson, Barlas, Pater and others are integrated during this assortment, besides 16 of Aubrey Beardsley's drawings.

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Butler, the under secretary of state for foreign affairs (1938–1941) and also occupied a seat in Parliament as a Conservative for Southend-on-Sea (1935–1958). He was knighted in 1957. Politically, he favored Neville Chamberlain, opposed *Winston Churchill, sympathized with *Germany, and outwardly hated Jews. A vain and proud man, he nonetheless moved in the highest circles of English society and politics. Channon and *Maugham could well have met as early as 1926, when both served as volunteer special constables during the coal strike of May 1926.

Maugham then published it in the 1933 collection, *Ah King. The †Narrator, a person with a passion for books, visits Malaya and lodges at the home of the acting resident, †Mark Featherstone, to whom he lends a recent biography of Lord Byron, complete with the references to the incestuous relationship between the poet and his half sister, Augusta Leigh—the only clue to the actual thesis of the story. Featherstone, in turn, relates the story of †Olive Hardy, a woman whom he loved and who lived on a plantation with her brother, †Tim Hardy.

Set both in Kent and in the Bloomsbury district of Edwardian London, the novel introduces a group of low-level writers whose interests lay with turning a profit rather than in their art. Thus, the artistically worn-out Driffield clashes with the self-promoting Kear. All is seen through the eyes of the narrator, young †William Ashenden (supposedly Maugham), who himself struggles vainly to escape the pseudointellectualism and social narrow-mindedness of his times. In the end, a more mature Ashenden pardons the faults of those whom he had initially rejected, possibly because he realizes that, artistically, he is not so far removed from them.

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