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HUYSMANS, JORIS KARL (1848–1907)
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See also:HUYSMANS, See also:JORIS KARL (1848–1907) , See also:French novelist, was See also:born at See also:Paris on the 5th of See also:February 1848. He belonged to a See also:family of artists of Dutch extraction; he entered the See also:ministry of the interior, and was pensioned after See also:thirty years' service. His earliest venture in literature, Le Drageoir a epices (1874), contained stories and See also:short See also:prose poems showing the See also:influence of See also:Baudelaire. See also:Marche (1876), the See also:life of a courtesan, was published in See also:Brussels, and Huysmans contributed a See also:story, " See also:Sac au dos," to See also:Les Soirees de Medan, the collection of stories of the Franco-See also:German See also:war published by See also:Zola. He then produced a See also:series of novels of everyday life, including Les Sceurs L'atard (1879), En See also:Menage (1881), and A vau-l'eau (1882), in which he outdid Zola in See also:minute and uncompromising See also:realism. He was influenced, however, more directly by See also:Flaubert and the See also:brothers de See also:Goncourt than by Zola. In L'See also:Art moderne (1883) he gave a careful study of See also:impressionism and in Certains (1889) a series of studies of contemporary artists. A Rebours (1884), the See also:history of the morbid tastes of a decadent aristocrat, See also:des Esseintes, created a See also:literary sensation, its See also:caricature of literary and See also:artistic symbolism covering much of the real beliefs of the leaders of the aesthetic revolt. In Ld-Bas Huysmans's most characteristic See also:hero, Durtal, makes his See also:appearance. Durtal is occupied in See also:writing the life of Gilles de See also:Rais; the insight he gains into Satanism is supplemented by See also:modern Parisian students of the See also:black art; but already there are signs of a leaning to See also:religion in the sympathetic figures of the religious See also:bell-ringer of See also:Saint Sulpice and his wife. En Route (1895) relates the See also:strange See also:conversion of Durtal to See also:mysticism and catholicism in his See also:retreat to La Trappe. In La Cathedrale (1898), Huysmans's symbolistic See also:interpretation of the See also:cathedral of See also:Chartres, he develops his See also:enthusiasm for the purity of See also:Catholic See also:ritual. The life of Sainte Lydwine de See also:Schiedam (19o1), an exposition of the value of suffering, gives further See also:proof of his conversion; and L'Oblat (1903) describes Durtal's retreat to the Val des See also:Saints, where he is attached as an oblate to a See also:Benedictine monastery. Huysmans was nominated by Edmond de Goncourt as a member of the Academie des Goncourt. He died as a devout Catholic, after a See also:long illness of See also:cancer in the See also:palate on the 13th of May 1907. Before his See also:death he destroyed his unpublished See also:MSS. His last See also:book was Les Foules de See also:Lourdes (1906).
See See also:Arthur See also:Symons, Studies in two Literatures (1897) and The Symbolist See also:Movement in Literature (1899); See also:Jean Lionnet in L'See also:Evolution des idees (1903); See also:Eugene See also: Additional information and CommentsThere are no comments yet for this article.
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