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Updated: June 6, 2025
The soul of a good man comes out of his mouth as a white mouse, while at the death of a sinner the soul escapes as a black mouse, which the devil catches and brings to hell. Devil-Death has inherited this wind instrument from the goat-footed Pan. “The Devil is more busy in the convents,” we are told by J. K. Huysmans in his novel En route , “than in the cities, as he has a harder job on hand.”
So Charley de Buis 'shut up, and then the women, headed by Sera and Mary Devine, trooped off to the cook-house to beat up eggs for the cake, and left us to ourselves. When it drew near midnight they returned, and Peter Huysmans arose, and, twisting his grizzled moustaches, said, 'Mine boys, will you led me dell you dot now is coming der morn ven Jesus Christ vos born?
As an instance of the paradoxicalness to which Huysmans many years later became addicted, the latter tried to puff up Hello as being a man of remarkable intellect; and an instance of the want of independence with which the new Catholic movement was carried on in Denmark is to be found in the fact that the organ of Young Denmark, The Tower, could declare: "Hello is one of the few whom all men of the future are agreed to bow before.... Hello was, not only a Catholic burning with religious ardour, but a genius; these two things explain everything."
But while the Boer was yet top-dog in the scuffle, and held the Barala stad, and the fort that had lately done duty as headquarters for the Irregulars, holding captive their commanding officer, several of his juniors, and some fifteen troopers, with a handful of Town Guards; and all the fighting men who could be spared from the trenches were being posted between the menacing danger and the town, and a couple of field-guns were being hurried into position, and it had not yet occurred to Commandant Schenk Eybel that the cautious Huysmans might leave him in the lurch, things looked very bad indeed for the doughty defenders of little Gueldersdorp certainly up to afternoon-tea time, when a couple of Scotch girls crossed the two hundred yards of veld that lay between the Fort and the town, carrying cans of steaming tea for the parching Britons penned up there.
He was myopic, not a trained scrutiniser, and Huysmans, once a disciple, later an opponent of the "naturalistic" documents, maliciously remarked that Zola went out carriage riding in the country, and then wrote La Terre. Turgenieff declared that Zola could describe sweat on a human back, but never told us what the human thought.
They should be brought together in one volume, especially as they are at present absolutely inaccessible, terrifyingly so, every one of them. And if they are to be thus collected may we not hope for one or two new essays with, say, for subjects, Flaubert and Huysmans?
The book thus characterized is obviously by a French writer I have good reason for thinking that it was À Rebours by Huysmans and how any responsible reader can have imagined that Walter Pater's The Renaissance answers to this description passes all understanding.
All literatures were ransacked for themes. This painter suffered from the nostalgia of the ideal. When a subject coincided with his technical expression the result approximates perfection. Consider the Salome, so marvellously paraphrased in prose by Huysmans. The aquarelle in the Luxembourg is more plastic, more jewelled than the oil; Moreau often failed in the working-out of his ideas.
Though he had no Dutch blood in his veins, he was, like Huysmans, more the man of Amsterdam than the man of Paris. He noted the changing and shocking scenes of hospital life, and sympathy without sentimentality drops from his pen. He is drily humorous as he shows us some plumaged General peacocking on foot, or swelling with Napoleonic pride as he caracoles by on his horse. And such horses!
Huneker must be reckoned the most brilliant of all living writers on matters musical." Academy, London. "No modern musical critic has shown greater ingenuity in the attempt to correlate the literary and musical tendencies of the nineteenth century." Spectator, London. Stendhal, Baudelaire, Flaubert, Anatole France, Huysmans, Barrès, Hello, Blake, Nietzsche, Ibsen and Max Stirner.
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