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Updated: May 1, 2025
Nor even then will it be approved. Carlyle speaks of dandyism as a survival of 'the primeval superstition, self-worship. 'La vanite, are almost the first words of Monsieur D'Aurevilly, 'c'est un sentiment contre lequel tout le monde est impitoyable. Few remember that the dandy's vanity is far different from the crude conceit of the merely handsome man.
One lays as much store by his promises as though he had moved heaven and earth to render them a service. When he admires anything he goes into such raptures that he convinces you. He once adored Victor Hugo, whom he now treats as a back number. He would have fought for Zola, whom he has abandoned for Barbey and d'Aurevilly.
Without doubt his Italian blood counted heavily in his work, but whether of noble issue matters little. Barbey d'Aurevilly and Villiers de l'Isle Adam, two men of letters, indulged in similar boasts, and no doubt in their poverty and tribulations the oriflamme of aristocracy which they bravely bore into the café life of Paris was a source of consolation to them.
James's and wherefore he is justly called the Father of Modern Costume, that I do most deeply revere him. It is not a little strange that Monsieur D'Aurevilly, the biographer who, in many ways, does seem most perfectly to have understood Mr. Brummell, should belittle to a mere phase that which was indeed the very core of his existence.
Compelled to live in a secular atmosphere, raised in the heart of the romantic school, constantly being in the current of modern literature and accustomed to reading contemporary publications, Barbey d'Aurevilly had acquired a dialect which although it had sustained numerous and profound changes since the Great Age, had nevertheless renewed itself in his works.
In "A Transaction in Hearts" the Reverend Christopher Gonfallon falls in love with his wife's sister, Claire. A New England countess, a subsidiary figure, suggests d'Aurevilly. This story originally appeared in "Lippincott's Magazine" and the editor who accepted it was dismissed. A year or so later a new editor published "The Picture of Dorian Gray."
In these all but healthy volumes, Barbey d'Aurevilly constantly hesitated between those two pits which the Catholic religion succeeds in reconciling: mysticism and sadism. In these two books which Des Esseintes was thumbing, Barbey had lost all prudence, given full rein to his steed, and galloped at full speed over roads to their farthest limits.
His language was the language of disheveled romanticism, full of involved expressions, unfamiliar turns of speech, delighted with extravagant comparisons and with whip strokes and phrases which exploded, like the clangor of noisy bells, along the text. In short, d'Aurevilly was like a stallion among the geldings of the ultramontaine stables.
Amidst the praise rendered to the scintillating beauties of this book, there is perhaps, none more impressive than that of Barbey d'Aurevilly, an illustrious literary man of a long and generous patrician lineage. His comment, kindled with lyric enthusiasm, is illuminating. It far surpasses the usual narrow conception of technical subjects.
Everybody was severely wounded: Jules Janin, Paulin Limayrac, Champfleury, Barbey d'Aurevilly, and a host of others. Not a bit of it! Not a bit of it! There were negotiations, embassies, explanations exchanged which explained nothing, and reparations made which repaired nothing. But there was not a shot fired. There was not a drop of blood drawn. O Lord! no!
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