Chapter VIII: Epilogue

It all seems a long time ago now since those days when Verlaine was as a lantern for these young men’s feet, to guide them through the mazes of Art. Thirty years ago and more Wilde was disclosing ‘décolleté spirits of astonishing conversation’; Zola influenced that Byron of pessimism, Thomas Hardy, to beget _Jude the Obscure_ (1895), and when the critics assailed him the Wessex giant guarded a ‘holy silence’ which has denied us up till now an emancipated novel such as the French and Italians have, though James Joyce may yet achieve it for us. It was also the age of youth in hansom cabs looking out on the lights of London’s West End which spread out before them as in a ‘huge black velvet flower.’ Ibsen, Tolstoy, Maeterlinck, Nietzsche, D’Annunzio, and Dostoievsky were beginning to percolate through by means of translations that opened out a new world into which everybody hastily swarmed. It was an age in which young men frankly lauded the value of egoism. Indeed, it was essentially the age of young men. In those days a genital restiveness which came over from France started the sex equation. A hothouse fragrance swept across the pudibond wastes of our literature. Hectics came glorying in their experiences. Richard of the Golden Girl with his banjo lifts up his voice to chaunt ‘a bruisèd daffodil of last night’s sin.’ Women like George Egerton in her _Keynotes_ take questions further than Mrs. Lynn Linton had ever done in the previous decade. Exoticism, often vulgar when not in master hands, blabbed out its secrets in works like _The Woman who Did_. Confounding the good with the bad, a wail went up against the so-called gospel of intensity. Sometimes it was in the serious reviews and weeklies; at another time it was Harry Quilter. Some young undergraduates at Oxford, even in _Aristophanes at Oxford_ (May, 1894), were filled with ‘an honest dislike for _Dorian Gray_, _Salomé_, _The Yellow Book_, and the whole of the lackadaisical, opium-cigarette literature of the day.’ _Punch_ produced a Beardsley Britannia and sang of:

The Yellow Poster girl looked out
From her pinkly purple heaven,
One eye was blue and one was green,
Her bang was cut uneven.
She had three fingers on one hand,
And the hairs on her head were seven.

And all these criticisms now, all these quarrels, are like old spent battlefields the sands of gracious time have covered over and hidden from view. Alone the best work of the period remains; for good art has no period or special vogue.

Indeed, the elements that destroy the worthless, that winnow the chaff from the grain, have been at work. For us, indeed, this landscape has changed from what it once was, and looking at it now we acquire a new impression which was denied to the critics of the age itself. Some of us, without a doubt, have gone to the opposite extreme and prattle about it as an age of platitudes, and accuse a work of art of being as old as _The Yellow Book_. One might as well accuse a violet of being as old as the Greek Anthology. For always, to those wandering back in the right spirit to those days, there will come something of the infinite zest which stirred the being of the men of the nineties to create art. It was such an honest effort that one has to think of those times when Marlowe and his colleagues were athrob with æsthetic aspiration to find a similitude. The nineties, indeed, are a pleasant flower-garden in our literature over which many strange perfumes float. There are times when one wishes to retreat into such places, as there are moments when the backwaters enchant us from the main stream.

It has been said it was an age of nerves. If by this is implied a keener sensitiveness to certain feelings pulsating in the art of this movement, one will not have very far to go to find its cause in the French impressionistic school of Manet, which, after saturating all types of French artists, undoubtedly invaded writers over here even before the movement of the nineties began. On the age without a doubt it had a lasting influence, so that to a certain degree, without being over-busy with what went before, we may say its writers brought it to no small degree into common use in our literature. But just as impressionism in painting had existed centuries before in the ever-busy mind of men like Leonardo da Vinci, one cannot go so far as to say it had never existed before in our literature. Such a statement would be perhaps frivolous. But it was with these men it first came to exist as a kind of cry of a new clan. It was these men who were essentially hectics who essayed to etch the exotic impression. The majority of the work of the movement, in fact, can be described as impressionisms of the abnormal by a group of individualists. For in all their work the predominant keynote will be found to be a keen sense of that strangeness of proportion which Bacon noted as a characteristic of what he called beauty. It is observable as much in the poems of Dowson as in the drawings of Beardsley, two of the leading types of the movement. It vibrates intensely in the minor work of men like Wratislaw, and also in John Gray’s early volume, as I have endeavoured to show. All Mr. Arthur Symons’s criticism is a narration of his soul’s adventures in quest of it. It stirred the genius of Charles Conder, and vitalizes the rather cruel analysis of Hubert Crackanthorpe. We see it almost as the animating spirit of the age itself in Oscar Wilde’s poems, _The Sphinx_ and _The Harlot’s House_. It has become disseminated like a perfume from the writings of Pater in the men who came after him. It was, so to speak, a quickening stimulus to them as the rediscovery of a manuscript of Catullus, or a Greek figure was in the years of the Renaissance itself. With it came a sense of freedom. An attempt was made, because of it, for instance, to emancipate our literature to the same extent as the literatures of Latin countries move untrammelled by a hesitancy in the choice of certain themes. And people at the time, watching the fate of the prime movers, cried with a great deal of assurance, ‘That way lies madness!’

Be this as it may, the men of the nineties bequeathed a certain subtleness of emotion to our art that is not without its value. They took Byron’s satanism and inflamed it with the lurid light of Baudelaire. _Buveurs de lune_ after the manner of Paul Verlaine, they evoked something of the ethereal glamour of moonlight itself. A realist like Crackanthorpe tried to tread the whole _via dolorosa_ without faltering by the wayside. Poetry caught the mood of bizarre crises and Edgar Wilson wrought a strange delicate world of visions. In Max Beerbohm irony took on a weird twinge of grace almost Pierrot-like. Perhaps, indeed, they all had something of the Pierrot quality in them. Beardsley himself was enchanted by that little opera without words, ‘L’Enfant Prodigue.’ Dowson made a play about him. _The Happy Hypocrite_ might be a story of the Pierrot himself grown old.

As I have hinted, much of the work conceived by these men was doomed to die, as in the case of every movement. What then remains, what is their balance to the good? Who knows? About everything man has loved and fashioned there abides vestiges of the interest of humanity. Only some things are easier to recall than others. They stand out more, so that one is bound to remark them. They have, so to speak, a _cachet_ of their own. Among these in this movement there comes the work of the men I have so hastily attempted to realise. Each has about him something of that quality which is indefinable, but easily recognisable. Each has his charm for those who care to come with a loving interest.

INDEX

_Academy, The_, 106.

Adams, Francis, 102.

_Adrian Rome_, 58.

_Adventures of John Johns, The_, 60.

_Æneids, The_, 28.

_Albemarle, The_, 69.

Allen, Grant, 102.

_Amor Umbratilis_, 88.

_Anatol_, 128.

_Anatomy of Melancholy, The_, 108.

Anquetin, 4.

_Antony Garstin’s Courtship_, 76.

Apuleius, 32.

_A Rebours_, 58.

Aretino, Pietro, 27.

Aristophanes, 18, 26, 27.

_Aristophanes at Oxford_, 132.

_Art of Thomas Hardy, The_, 108.

_Artist’s Model, An_, 39.

_Ascension of St. Rose of Lima, The_, 25.

_Atalanta_, 38.

_Aubrey Beardsley_, 20, 29.

_Aubrey Beardsley and The Yellow Book_, 37.

_Aurora La Cujiñi_, 65.

_Autumn City, An_, 52.

Avenue Theatre, 21.

Bacon, Francis, 79, 135.

_Ballad of a Barber, The_, 30, 44, 85.

_Ballad of a Nun, The_, 93, 94.

_Ballad of an Artist’s Wife, The_, 94.

_Ballad of Hell_, 94.

_Ballad of Reading Gaol, The_, 24, 126.

_Ballads_, 93.

Balzac, 44, 64.

Bantock, Granville, 99.

_Baptist Lake_, 5, 93.

_Barber, The_, 85.

Barrie, J. M., 55.

_Battledore and Shuttlecock_, 72.

Baudelaire, Charles, 81, 84, 136.

Bayros, Franz von, 26, 28, 31.

Beardsley, Aubrey, 1, 2, 4, 6, 8-14, 16-19, 23-32, 34, 35, 37-39,
41-45, 47, 59, 61, 89, 91, 93, 112, 115, 116, 118, 119, 121-123,
125, 126, 135, 136.

_Beardsley, Aubrey_, 20, 29.

_Beardsley, Aubrey, and the Yellow Book_, 37.

_Beardsley, Aubrey, The Last Letters of_, 14.

_Beardsley Girl, The_, 22.

Becke, Louis, 58, 69.

Beerbohm, Max, 23, 33, 43, 63, 95, 102, 110, 111-117, 122, 130, 136.

Bierbaum, Otto, 129.

Binyon, Laurence, 8.

Birch Bark School, 83.

Björnson, Björnstjerne, 129.

_Black Cat, The_, 127.

_Black Coffee_, 38.

Blake, William, 19, 35, 44, 51.

_Blake, William, and his Illustrations to the ‘Divine Comedy,’_ 43, 44.

_Blätter für die Kunst_, 3.

_Blessed Damozel_, The, 22.

Bodley Head, The, 38, 40, 91.

Bodley Press, The, 8.

_Book of Fifty Drawings, A_, 24.

Botticelli, Sandro, 19.

Bovril, 56.

Brentano’s, 99.

Brighton, Beardsley at, 14, 15, 23.

British Museum, 29.

Brooke, Stopford A., 75.

Brown, Professor, 16.

Browne, Sir Thomas, 47.

Browning, Robert, 48.

_Bruce_, 126.

Burne-Jones, Sir Edward, 16, 17.

Burton, Robert, 108.

Burton, Sir Richard F., 125.

_Butterfly, The_, 36, 118, 120.

Byron, Lord, 136.

Café Royal, 8, 23, 89, 116.

_Called Back_, 67.

_Cardinal’s Snuff-Box, The_, 40.

Carman, Bliss, 45.

_Carmen Cl._, 45.

Casanova, 31.

_Case of Conscience, A_, 67.

_Cassell’s Magazine_, 120.

Catullus, 45, 125, 135.

Caume, Pierre, 26.

Cazotte, 14.

_Celestial Lovers, The_, 14.

_Cena Trimalchionis_, 34.

_Century Guild Hobby Horse, The_, 88.

Chamberlain, A. B., 80.

_Chameleon, The_, 36.

Charing Cross Road, 28.

_Charles Conder_, 124.

Chaucer, Geoffrey, 27.

_Chemist in the Suburbs, The_, 68.

Cheshire Cheese, 8, 10, 79.

Chiswick Press, 42.

_Chord, The_, 36.

_City of the Soul, The_, 79.

_Climax, The_, 61.

_Comedy of Masks, A_, 58, 87.

_Comedy of Sighs, The_, 21.

Conder, Charles, 4, 11, 41, 44, 61, 123, 124, 135.

_Confessions of a Young Man, The_, 57.

_Conflict of Egoisms, A_, 70.

Congreve, William, 1, 16.

Conrad, Joseph, 12, 45, 58, 69.

Conway, Hugh, 67.

Cooke, J. Y. F., 72.

Coppée, François, 126.

Covent Garden, 23.

Crackanthorpe, Hubert, 8, 11, 44, 47, 57, 58, 61, 64, 67-77, 101,
135, 136.

Crane, Walter, 80.

Crashaw, Richard, 103.

Custance, Olive, 82.

_Dame aux Camélias, La_, 18.

D’Annunzio, Gabrielle, 46, 128, 131.

Dante, 19.

_Dark Angel, The_, 104.

Davidson, John, 5, 8, 56, 59, 80, 83, 86, 91-97, 126.

_Days and Nights_, 48.

_Dead Woman, A_, 71.

_Death of Peter Waydelin, The_, 52, 63.

_Death of Pierrot, The_, 45.

_Decadent Movement in Literature, The_, 47.

_Decorations_, 89.

_Defence of Cosmetics, A_, 111.

Dent, J. M., 8, 17.

Dewhurst, Wynford, 99.

_Dial, The_, 123.

Dickens, Charles, 7, 62.

_Dilemmas_, 67.

Dircks, Rudolf, 42, 64.

_Discords_, 64.

_Divine Comedy, The_, 19.

_Doll’s House, A_, 128.

_Dome, The_, 36, 120.

Donnay, Maurice, 27.

Dostoievsky, Feodor, 131.

Douglas, Lord Alfred, 64, 79, 111.

Dowson, Ernest, 8, 9, 11, 41-45, 47, 50, 53, 58-61, 63, 67, 79-81,
83, 84, 86-89, 95, 96, 99, 123, 125, 126, 135, 136.

Du Maurier, George, 58, 81.

Dunsany, Lord, 119.

Duse, Eleonora, 46.

_Dying of Francis Donne, The_, 44, 63.

_Earl Lavender_, 5.

Echegaray, José, 128.

Egerton, George, 64, 132.

_1880_, 114.

_Eighteen Nineties, The_, 92.

Ellis, Edwin J., 80.

_Embers_, 71.

_English Literature_, 1880-1905, 39.

_Episodes_, 64, 102.

_Ernest Dowson_, 81.

_Erotische Kunst_, 28.

_Essay on Beauty_, 79.

_Essays in Modernity_, 102.

_Esther Khan_, 52.

_Etienne Matton_, 73.

_Eureka_, 118.

Evans, Caradoc, 77.

_Evelyn Innes_, 6, 43, 58.

_Evergreen, The_, 36.

_Extreme Unction_, 89.

_Fat Woman, The_, 17.

_Femmes Damnées_, 84.

_Fêtes Gallantes_, 81.

_Fille aux Yeux d’Or, La_, 44.

Fitzroy Settlement, 80.

Flaubert, Gustave, 6.

_Fleet Street Eclogues_, 93.

Fort, Paul, 4, 129.

_Frontispiece to the Chopin Nocturnes_, 38.

Fuchs, Eduard, 28.

Fuller, Loïe, 99.

Gale, Norman, 82.

Galton, Arthur, 102.

Garnett, Edward, 80.

_Gaston Lalanne’s Child_, 73.

Gautier, Théophile, 15.

_Gentle Art of Making Enemies, The_, 101, 113.

George, Stephan, 3.

Gibson, Frank, 124.

Gillray, James, 28.

Gissing, George, 57, 58.

Graham, R. B. Cunninghame, 65.

Grahame, Kenneth, 65.

Gray, John, 14, 18, 43, 80-82, 123, 125, 135.

_Green Carnation, The_, 60.

Greenaway, Kate, 15.

Greene, George Arthur, 80.

Grundy, Mrs., 27.

Grundy, Sydney, 129.

Guardian Life and Fire Assurance Co., 16.

Guys, Constantine, 17.

Gyles, Althea, 120-122.

Hamerton, P. G., 115.

_Happy Hypocrite, The_, 63, 116, 137.

_Happy Wanderer, The_, 82, 112.

Hardy, Thomas, 8, 12, 55, 57, 69, 76, 131.

Harland, Henry, 12, 37-40, 58, 64.

_Harlot’s House, The_, 5, 79, 120, 121, 135.

_Harper’s Magazine_, 47.

Harris, Frank, 58.

Hauptmann, Gerhardt, 128.

Hemingway, Percy, 68, 82.

Henley, W. E., 8-10, 58, 64, 79, 102, 105.

Herbert, George, 103.

Herodas, 61.

_Herodias_, 46.

Hichens, Robert, 60.

Hill, Raven, 119.

Hillier, Arthur Cecil, 80.

_Hobby Horse, The_, 36.

Hogarth Club, 38.

Horne, Herbert P., 80.

Horniman, Miss, 127.

Houghton, Stanley, 127.

_Hound of Heaven, The_, 79.

_House of Pomegranates, The_, 5.

_How Queen Guenever made her a Nun_, 25.

Hugo, Victor, 126.

Huneker, James, 52.

Huysmans, J. K., 57.

_Hypnerotomachia, The_, 13.

_Hypocrite, The_, 59.

Ibsen, Henrik, 128, 131.

_Idiots, The_, 45.

_Idler, The_, 36, 116, 118-120.

Image, Selwyn, 43.

_Imaginary Portraits_, 52.

_In a Music Hall_, 92.

_Inconsolables_, 71.

_Incurable_, 110.

_Influence of Baudelaire in France and England, The_, 34.

_Intentions_, 101.

_In the Depths of the Sea_, 119.

Jackson, Holbrook, 92, 123.

James, Henry, 40, 43, 57, 69,75.

James, Humphrey, 42.

Jammes, Francis, 69.

Job, 19.

Johnson, Lionel, 80, 95, 102-110.

Johnson, Noel, 99.

Jones, Alfred, 99.

Jones, Henry Arthur, 129.

Joyce, James, 77, 131.

_Jude the Obscure_, 12, 131.

Juvenal, 24, 28.

Keats, John, 87, 88.

Kelmscott Press, 17.

Kennedy, J. M., 39.

_Keynotes_, 64, 132.

‘Kid-glove School,’ 10.

Kipling, Rudyard, 4, 12, 55, 63, 69.

Kubin, Alfred, 28.

_La Faustine_, 26, 52.

La Jeunesse, Ernest, 60.

_Lake Isle of Innisfree, The_, 10.

Lamb, Charles, 113.

Lambeth School of Art, 119.

Lane, John, 37, 83, 125.

_Last Studies_, 75.

Lautrec, Toulouse, 4, 26, 51, 119.

Lawrence, Arthur, 119.

Le Gallienne, Richard, 5, 58, 65, 80, 82, 102, 132.

_L’Enfant Prodigue_, 136.

_Le Rire_, 119.

_Liber Juniorum_, 122.

_Lilies of France, The_, 110.

Lind, Letty, 38.

Linton, Mrs. Lynn, 132.

_Literature at Nurse_, 6.

_London Nights_, 49, 51.

Louÿs, Pierre, 84.

_Love-sick Curate, The_, 73.

Lowry, H. D., 64.

Lucian, 28.

Luska, Sidney (i.e. Henry Harland), 40.

_Lysistrata, The_, 18, 24, 26-29.

MacColl, D. S., 29.

Machen, Arthur, 58, 64.

_Madame Bovary_, 18.

_Mademoiselle de Maupin_, 15, 18, 24, 32.

_Mademoiselle Miss_, 40.

Maeterlinck, Maurice, 128, 131.

_Maîtresse d’Esthètes_, 59.

Mallarmé, Stéphane, 3, 46, 81, 84, 88.

Manet, Eduard, 3, 134.

_Manon Lescaut_, 18.

_Marius the Epicurean_, 57, 111.

Marlowe, Christopher, 16, 134.

_Marpessa_, 61.

Marriott-Watson, Rosamund, 82.

Mathews, Elkin, 83, 124.

Mattos, Henri Teixeira de, 84.

Maupassant, Guy de, 63, 71.

_Mémoires_ (Casanova), 32.

Meredith, George, 8, 43, 55, 69.

Merrick, Leonard, 58.

_Mike Fletcher_, 7.

Mimes, 61.

Mirbeau, Octave, 112.

_Mishka_, 85.

_Mr. Midshipman Easy_, 111.

_Modern Melodrama_, 73.

_Modern Painting_, 6.

_Mogreb-el-Acksa_, 65.

Molière, 56.

Monet, Claude, 3, 49, 79.

Moore, Arthur, 58, 87.

Moore, George, 3, 5-7, 43, 55, 57, 58, 127.

_More_, 112.

Morris, William, 17.

Morrison, Arthur, 58, 69.

_Morte d’Arthur, Le_, 8, 17, 18, 25.

Murdoch, W. G. Blaikie, 2, 21, 41, 48.

Murger, Henri, 9, 58.

_My People_, 77.

_Mystic and Cavalier_, 105.

_National Observer, The_, 8, 10.

Nerval, Gerard de, 51.

Nettleship, J. T., 80.

Nevinson, H. W., 65.

_New Ballad of Tännhauser, A_, 94.

_New Grub Street_, 57.

_New Hedonism, The_, 102.

_New Illustrator, A_, 17.

Newman, John Henry, 108.

Nichols, H. S., 42, 125.

Nietzsche, Friedrich Wilhelm, 91, 131.

_No. 5 John Street_, 58.

_Non sum qualis eram bonae sub regno Cynarae_, 89.

_North Coast and Eleanor, The_, 67.

_Odin Howes_, 60.

_On Books and Art_, 62.

_On the Kind of Fiction called Morbid_, 43.

_Orgeas and Mirandou_, 63.

O’Sullivan, Vincent, 43.

_Other Side, The_, 64.

_Out of Egypt_, 65.

Pachmann, Vladimir de, 46.

_Pageant, The_, 36, 110.

_Parade, The_, 36, 117.

_Past and Present_, 15.

_Pater, The Work of Mr._, 106.

Pater, Walter, 5, 48, 52, 57, 101, 104, 108, 135.

Payne, John, 3.

_Peacock, The_, 125.

Pennell, Joseph, 17.

_Perfervid_, 92, 95.

_Perversion of Rouge, The_, 33.

Peters, William Theodore, 40, 80, 83, 91, 97-99, 126.

Petronius, 34.

Phillips, Stephen, 61, 79.

_Pick-me-Up_, 36, 112, 118.

_Picture of Dorian Gray, The_, 57, 132.

_Pierrot and the Statue_, 97.

_Pierrot of the Minute, The_, 24 91, 99.

Pinero, A. W., 129.

Pioneer Players, 128.

_Pity of Love, The_, 126.

Plarr, Victor, 80, 81, 87, 90.

Pope, Alexander, 18.

_Posies out of Rings_, 97.

_Post Liminium_, 106.

_Poster, The_, 36.

Pre-Raphaelites, 4, 14, 17.

_Princesse Maleine, La_, 128.

_Profiles_, 70.

Propertius, 89.

_Prose Fancies_, 5.

_Prose Poems_, 5.

_Pseudonym Library, The_, 22.

_Punch_, 22, 132.

_Quartier Latin, The_, 97.

_Quarto, The_, 36.

_Quest of the Golden Girl, The_, 5, 58.

Quilter, Harry, 132.

Radford, Dollie, 82.

Radford, Ernest, 80.

_Rambler, The_, 120.

_Random Itinerary, A_, 93.

Ranger-Gull, Cyril, 59.

_Rape of the Lock, The_, 18, 19, 24-26.

Rassenfosse Armand, 26, 28, 122.

Redon, Odélon, 26.

Régnier, H. F. J., 4.

_Reigen_, 32.

_Renaissance of the Nineties, The_, 2, 21, 41.

Renoir, P. A., 79.

_Renunciations_, 67.

Restif de la Breton, 32.

Restoration dramatists, 15.

Rhymers’ Club, 10, 11, 59, 79, 80, 82, 88, 91, 125.

Rhys, Ernest, 44, 80.

Ricketts, Charles, 119, 123.

Rimbaud, Arthur, 84, 85.

Roberts, C. G. D., 58.

Roberts, Morley, 80.

_Roi Pausole, Le_, 32.

Rolleston, Thomas William, 83.

Rops, Félicien, 17, 26, 122.

Rose, Edward, 80.

_Rose Leaf, The_, 36.

Ross, Robert, 13, 19, 20, 24, 29.

Rossetti, D. G., 31.

Rothenstein, William, 4, 43, 91, 122.

Rowlandson, Thomas, 27.

_Runnable Stag, A_, 95.

_Ruy Blas_, 126.

_Salomé_, 5, 17, 18, 22, 25, 29, 61, 86, 129, 132.

Saltus, Francis, 43.

_Saturday Review, The_, 130.

_Savoy, The_, 10-12, 24, 36, 37, 40-46, 50, 89.

_Scaramouch in Naxos_, 126.

Schnitzler, Arthur, 32, 128.

_Scots Observer, The_, 10.

_Scribner’s Magazine_, 120.

_Seaward Lackland_, 54.

_Second Book of Fifty Drawings, A_, 24.

_Second Mrs. Tanqueray, The_, 129.

Shakespeare, William, 18, 56.

Shannon, Charles H., 43, 119.

Shaw, George Bernard, 12, 42, 102, 110, 127, 130.

Sherard, Robert H., 84, 87, 97.

Sickert, Walter, 15, 41, 123.

_Silhouettes_, 49, 51.

_Silverpoints_, 81, 83.

Sime, S. H., 36, 118, 119, 121.

_Sketch, The_, 14, 120.

_Small Boy and the Barley Sugar, The_, 117.

_Smith: A Tragic Farce_, 126.

Smithers, Leonard, 24, 25, 41, 82, 83, 87, 89, 120, 125.

Sophocles, 56.

_Sphinx, The_, 79, 86, 135.

_Spirit of Caricature, The_, 122.

_Spirit Lamp, The_, 36, 64.

_Spiritual Adventures_, 52.

Stenbock, Eric Count, 64.

Stevenson, Robert Louis, 55, 62.

_Stories of Strange Women_, 72.

Street, G. S., 8, 64, 102.

_Strike at Arlingford, The_, 127.

_Struggle for Life, The_, 71.

_Studies in Two Literatures_, 49.

_Studies of Death_, 64.

_Studio, The_, 17, 22, 36.

_Success_, 65.

Sudermann, Hermann, 128.

_Symbolist Movement in Literature, The_, 49, 53.

Symonds, John Addington, 52, 53, 101.

Symons, Arthur, 6, 8, 12, 14, 18, 37, 40-43, 46-54, 63, 79-81, 87,
95, 101, 107, 115, 122, 135.

Synge, J. M., 127.

_Tales of Mean Streets_, 69.

_Tamburlaine_, 16.

_Testament_, 93.

Théâtre d’Art, 4.

_Thirty Bob a Week_, 93.

Thomas, Brandon, 14, 126.

Thompson, Francis, 79, 82.

_Thousand and One Nights, The_, 32.

_Three Musicians, The_, 29, 42.

_Times, The_, 39.

_To-Day_, 36.

Todhunter, Dr. John, 21, 80, 127.

_Toilet of Helen, The_, 33.

_Toilet of Sabina, The_, 33.

Tolstoy, Leo, 131.

_To the Café aux Phares de l’Ouest, Quartier Montparnasse_, 98.

_Tournament of Love, The_, 99.

Traill, H. D., 68.

_Trevor Perkins_, 77.

_Trilby_, 58.

_Tristan and Isolde_, 45.

_Turn of the Wheel, The_, 77.

Turquet-Milnes, G., 34.

_Twenty Years in Paris_, 87, 97·

_Under the Hill_, 14, 31, 42, 59.

Unwin, T. Fisher, 22.

Vale Press, 123.

_Verisimilitudes_, 64.

Verlaine, Paul, 43, 44, 46, 50, 81, 84, 131, 136.

_Vignettes_, 76, 101.

Vinci, Leonardo da, 134.

Virgil, 28.

Vizetelly & Co., 57.

Wagner, Richard, 14.

Wagnerites, The, 19.

Watson, William, 82, 105.

Watteau, Jean Antoine, 17, 52.

Watts, George Frederick, 16.

_Way of the World, The_, 16.

Wedmore, Frederick, 42, 43, 62, 63, 67.

_Westminster Gazette, The_, 39.

_When Greek meets Greek_, 71.

Whibley, Charles, 102.

Whistler, James McNeill, 3, 5, 7, 25, 40, 60, 101, 113.

Whistler, Mrs. James McNeill, 17.

_White Maize, The_, 73.

Whiteing, Richard, 58.

Wilde, Oscar, 1, 3, 5, 6, 9, 10, 12, 14, 19, 22, 24, 25, 32, 34, 57,
60, 61, 79-82, 84, 86, 89, 101, 111, 114, 120, 121,
125-129, 131, 135.

Wilkins. W. H., 69.

Willy, 59.

Wilson, Edgar, 36, 119, 136.

_Wilson, Edgar, and his Work_, 119.

_Woman and her Son, A_, 94.

_Woman in White, The_, 44.

_Woman Who Did, The_, 132.

_Women’s Tragedies_, 64.

_Wonderful Mission of Earl Lavender, The_, 93, 94.

_Work of Mr. Pater, The_, 106.

_Works, The_, 111, 112.

Wratislaw, Theodore, 44, 82, 123, 126, 135.

_Wreckage_, 69, 72.

Wycherley, William, 16.

Yeats, W. B., 8, 10, 11, 42, 43, 45, 80, 82, 120.

_Yellow Book, The_, 6, 11, 12, 21, 24, 36-41, 46, 91, 94, 111, 114,
117, 132, 133.

_Yellow Book_ Group, The, 9.

‘Yellow Dwarf, The,’ 40.

_Yet Again_, 112.

_Yew-Trees and Peacocks_, 73.

Zangwill, Israel, 69.

Zola, Émile, 57, 131.

_Zuleika Dobson_, 111.

_London, Strangeways, Printers._

Transcriber’s Notes

Punctuation, hyphenation, and spelling were made consistent when a predominant preference was found in this book; otherwise they were not changed.

Simple typographical errors were corrected; occasional unbalanced quotation marks retained.

Ambiguous hyphens at the ends of lines were retained.

Whatever foreign language errors may exist in the text are the author’s own, and have been left undisturbed.

Index not checked for proper alphabetization or correct page references.

End of Project Gutenberg's The Men of The Nineties, by Bernard Muddiman