The cultured and Decadent circulate of the overdue nineteenth century spawned the assumption of "Art for Art's Sake," challenged aesthetic criteria and surprised the bourgeosie. From Walter Pater's research, "The Renaissance to Salome, the really decadent collaboration among Oscar Wilde and Aubrey Beardsley, Karl Beckson has selected an entire spectrum of works that chronicle the British creative success of the Nineties. during this revised version of a vintage anthology, "The Ballad of analyzing Gaol" has been integrated in its entirety; the bibliography has been thoroughly up-to-date; Professor Beckson's notes and remark were increased from the 1st version released in 1966. The so-called Decadent or Aesthetic interval continues to be probably the most fascinating within the background of the humanities. The poetry and prose of such writers as Yeats, Wilde, Symons, Johnson, Dowson, Barlas, Pater and others are incorporated during this assortment, besides 16 of Aubrey Beardsley's drawings.
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55University on Sun Apr 07 14:45:05 WEST 2013. 001 Cambridge Companions Online © Cambridge University Press, 2013 The art and science of self-dramatization precludes the idea that their author was anything but fully in control of his texts and his thoughts. 7 A reader is well advised to think of Polonius’ line from Hamlet: ‘Though this be madness, yet there is method in’t’ (ii: ii). Strindberg developed a highly sophisticated mode in which to respond to the claims that he was mentally ill. Insanity is a ﬁgure in Strindberg’s texts that performs as an extension of the rhetorical method mentioned above, philosophizing with a hammer.
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55University on Sun Apr 07 14:45:05 WEST 2013. 001 Cambridge Companions Online © Cambridge University Press, 2013 linda haverty rugg (SV46, p. 7; MJoP, p. 176). The many ﬁgures of his dream play, then, are indeed meant to be understood as emanations of a single consciousness, and Strindberg called To Damascus his earlier dream play, indicating that we can understand the Stranger as a representative of the dreamer, with the other characters in the drama acting as subﬁgures to the protagonist. In Inferno as well, the odd instrumentalization of the other ﬁgures in the novel does not convey simple narcissism (a diagnosis not infrequently assigned to Strindberg), but an attempt to get at the problem of subjective perception, the inability to know the Other.