ENL 6256:
THE VICTORIAN FIN DE SIÈCLE:
ITS PARADIGMS AND MYTHOLOGIES
Dr. C. Snodgrass; 4336 Turlington; 376-8362 (home) or 278-8362 (cell); snod@english.ufl.edu
© Chris Snodgrass 2008

SYLLABUS:  READING SCHEDULE

REQUIRED TEXTS (books available at Goering’s Book Center; course packets available at Orange & Blue Textbooks):

Walter Pater, The Renaissance, ed. Donald L. Hill (California).
Oscar Wilde, The Ballad of Reading Gaol and Other Poems (Dover)
Aubrey Beardsley, The Best Works of Aubrey Beardsley (Dover)       
Seven photocopy supplements — buy at Orange & Blue Textbooks


SCHEDULE (subject to modest renegotiation)

Week  1   The Dream of Aestheticism [Packet #1; c. 100 pages; c. 45 pictures]

Introduction — background

Introduction, “William Michael Rossetti (1829–1919)”
Introduction, “John Ruskin (1819–1900)”
William Michael Rossetti — “The Brotherhood in a Nutshell” from The Germ (1850)
John Ruskin — “Pre-Raphaelite Brotherhood” (Letters to the Times); “ . . . absolute, uncompromising truth”; “Pre-Raphaelitism,” from Lectures on Architecture and Painting (London: Smith Elder, 1854), 189–239.

19th Century Art (on my website: http://web.clas.ufl.edu/users/snod/Texts&Images.htm>): John Everett Millais, The Woodman’s Daughter (1951), The Blind Girl (1854), Cherry Ripe (1879); William Holman Hunt, The Awakening Conscience (1853), The Awakening Conscience (1853), The Lady of Shalott (1889-92) [Manchester]; Arthur Hughes, The Long Engagement (1854-59), Home from the Sea (1856-63), Good Night (1865-66), Sir Galahad (1865-70); Augustus Egg, Travelling Companions (1862); William Bouguereau, Le Printemps [The Return of Spring] (1866), The Abduction of Psyche (1895); Edward Burne-Jones, Pygmalion & the Image: The Heart Desires (1868-78), Pygmalion & the Image: The Hand Refrains (1868-78),  Pygmalion & the Image: The Godhead Fires (1868-78), Pygmalion & the Image: The Soul Attains (1868-78), The Annunciation (1879), King Cophetua and the Beggar Maid (1884); Edwin Long, The Babylonian Marriage Market (1875), The Chosen Five (1885); Herbert Draper, A Water Baby (1900); Frank Dicksee, Harmony (1877), Chivalry (1885), The End of the Quest (1921); Frederic Leighton, Idyll (1880-81), The Bath of Psyche (c. 1890), Perseus and Andromeda (1891-94), Flaming June (1895), Flaming June 2 (1895); Albert Moore, A Workbasket (1879), Dreamers (1879-82), A Summer Night (1887-90); Dante Gabriel Rossetti, Beata Beatrix (1864-70)[Tate Gallery], The Blessed Damozel (1875-78) [Tate Gallery],  Ecce Ancilla Domini (1850); Frederick Sandys, Mary Magdalen (1858-60); John Spencer Stanhope, Eve Tempted (n.d), Eve Tempted (1877) [Manchester]; and John Waterhouse, The Lady of Shalott (1888), Hylas and the Nymphs (1896).

Karl Beckson, “Preface to Second Edition,” “Preface,” “Introduction,” from Aesthetes and Decadents of the 1890s (1965; Chicago: Academy Chicago, 1981), vii–xliv.

Ian Small, “Introduction,” from The Aesthetes: A Sourcebook (London: Routledge, 1979), ix–xxix.

R. K. R. Thornton, “Preface,” “The Climate of Decline,” from The Decadent Dilemma (London: Edwin Arnold, 1983), [0]–14.

Week 2   Walter Pater, Father of the “Religion of Art” [Packet #1; The Renaissance; c. 220 pages + notes]   

Introduction, “Walter Pater (1839–1894)”
Walter Pater — Studies in the History of the Renaissance (1873).

Week 3   Theorizing the “Religion of Art” [Packets #1 & #2; c. 200 pages]

Packet #1:

Théophile Gautier — Preface to Mlle. de Maupin (1835), v–xl.

Charles Baudelaire — “The Painter of Modern Life” (1863), 1–40.

James McNeil Whistler — introduction to Whistler and his lecture, 72–74; “Ten O’Clock Lecture” (1885), 76–89.

Introduction: “Arthur Symons (1865–1945)”
Arthur Symons — Criticism: “Preface: Being a Word on Behalf of Patchouli,” from Silhouettes (2nd edition, 1896) and “Preface to 2nd Edition of London Nights” (1896), from Studies in Prose and Verse (1904), 279–85; “Decadent Movement in Literature,” [Harper’s Magazine 87 (Nov. 1893): 858–67] & Dramatis Personae (1923), 96–117.

Introduction: “Olive Custance (1874–1944)”
Olive Custance (Lady Alfred Douglas) — “Peacocks: A Mood,” “The Masquerade,” “Hyacinthus,” “The White Statue,” “Statues,” “Candle-Light,” “Pierrot.”

Introduction: “Max Beerbohm (1872–1956)”   
Max Beerbohm — “In Defence of Cosmetics,” Yellow Book 1 (April 1894): 137–53.

Packet #2:

Introduction: “Aubrey Beardsley (1872–1898)”
Aubrey Beardsley — “The Art of Hoarding,” New Review (July 1894): 91, 93–94.

Introduction: “Oscar Wilde (1854–1900)”
Oscar Wilde — “The Critic As Artist,” Nineteenth Century (July and September 1890), and in Intentions (1891), [98]–224; “Preface” to The Picture of Dorian Gray (1890).   
           
Hugh E. M. Stutfield, “Tommyrotics.”  Blackwood’s Edinburgh Magazine 157.956 (June 1895): 833-45.


Week 4   The Art of Life [Packet #2, c. 120 pages]
   
Introduction: “Henry Harland (1861–1905)”   
Henry Harland — “The Invisible Prince,” The Yellow Book 10 (July 1896): [59]–87; “Merely Players,” The Yellow Book 13 (April 1897): [19]–50.

Introduction: “Ella D’Arcy (1856?–1937?)”
Ella D’Arcy — “The Pleasure-Pilgrim,” Yellow Book 5 (April 1895) and Monochromes (1895), 165–218.   

‒‒‒‒PROJECT SELECTION DUE‒‒‒‒

Week 5   John Oliver Hobbes: Narrating Ironies and Paradoxes [Packet #2, c. 80 pages]

Introduction: “John Oliver Hobbes [Pearl Craigie] (1867–1906)”               
John Oliver Hobbes [Pearl Craigie] — A Bundle of Life (1894), 369–447.


Week 6   Ernest Dowson: Aestheticized Innocence and Tragedy  [Packet #3, c. 265 pages]

Introduction: “Ernest Dowson (1867–1900)”       
Ernest Dowson — Poetry: “In Preface: For Adelaide,” “Vita summa brevis,”“Nuns of the Perpetual Adoration,” “My Lady April,” “Ad Domnulam Suam,” “Yvonne of Brittany,” “Benedictio Domini,” “Growth,” “Ad Manus Puellae,” “Non Sum Qualis Eram Bonae Sub Regno Cynarae,” “Exile,” “Spleen,” “O Mors! Quam Amara Est Memoria,” “You would have understood me had you  waited,” “April Love,” “Vain Hope,” “Vain Resolves,” “Villanelle of My Lady’s Treasures,” “The Garden of Shadow,” “Amantium Irae,” “Impenetentia Ultima,” “A Valediction,” “Cease smiling, Dear! a little while be sad,” “Epigram,” “Beyond,” “Carthusians,” “To His Mistress,” “The Sea-Change,” “Dregs,” “Venite Descendamus,” “Transition,” “Exchanges,” “A Last Word.”

Dowson — Fiction: Mark Longaker, “Introduction,” 1–10, and “Notes,” 116–122, from The Stories of Ernest Dowson (1947); “The Diary of a Successful Man,” Macmillan’s Magazine (February 1890) and Dilemmas (London: Lane, 1895), 1–26; “An Orchestral Violin,” Macmillan’s Magazine (August 1891) and Dilemmas, 51–85; “Souvenirs of an Egoist,” Temple Bar (January 1888) and Dilemmas, 87–122; “A Case of Conscience,” Century Guild Hobby Horse (April 1891) and Dilemmas (1895), 27–49; “The Eyes of Pride,” Savoy 1 (January 1896): 51–63; “Absinthia Taetra,” Decorations: In Prose and Verse (London: Leonard Smithers, 1899), 46; “The Visit,” Decorations, 47–48; “The Princess of Dreams,” Decorations, 49–50.   

Arthur Symons, “Ernest Dowson,” The Poems of Ernest Dowson (London: Lane: Bodley Head, 1905), v–xxix.

Chris Snodgrass, “Ernest Dowson and Schopenhauer: Life Imitating Art in the Victorian Decadence,” Victorian Institute Journal 21 (Fall 1993): 1–46.

‒‒‒‒BIBLIOGRAPHY DUE‒‒‒‒

Week 7   Eroticized Decadence [Packet #4, c. 130 pages]

Charles Baudelaire — “Un Voyage à Cythère” [“A Voyage to Cythera”] (1857), translations by Wallace Fowlie, Frederick Morgan, and David Paul respectively.

Introduction: “John Gray (1866–1934)”
John Gray — “Le Voyage à Cythère,” “On a Picture,” “Poem,” “A Crucifix,” “Parsifal Imitated,” “Femmes Damnées,” “The Barber,” “Mishka,” “Charleville.”        

Arthur Symons — Criticism: “The World as Ballet,” Studies in Seven Arts (1906), 244–46; “Music Halls and Ballet Girls” (1890s; TS Princeton, unpublished until Beckson, ed., Memoirs, 1977), 109–114; “Sex and Aversion” (1890s; TS Princeton, unpublished until Memoirs, 1977), 137–40; “Lydia” (1890s; TS Princeton, unpublished until Memoirs, 1977), 157–69. 

Symons — Poetry:  “Eyes,” “Morbidezza,” “Maquillage,” “Impression,” “On Meeting After,” “Emmy,” “Javanese Dancers,” “Prologue: Before the Curtain,” “Prologue: In the Stalls,” “To a  Dancer,” “Renée,” “Nora on the Pavement,” “Violet: La Mélinite: Moulin Rouge,” “Violet: At the Ambassadeurs,” “Stella Maris,” “Hallucination: I,” “Hallucination: II,” “Flora of the Eden: Antwerp,” “White Heliotrope,” “Nerves,” “Madrigal: I,” “In the Sanctuary at Saronno,” “Bianca: Bianca,” “Bianca: Benedictine,” “Epilogue: Credo.”    

Symons — Fiction: “The Death of Peter Waydelin,” Lippincott’s Monthly Magazine 63 (February 1904) and Spiritual Adventures (London: Constable, 1905), 99–116; “Christian Trevalga,” Spiritual Adventures (1905), 91–121.

Week 8   The New Priesthood and Its Martyrdom [Packet #4, c. 200 pages]

Arthur Symons — The Symbolist Movement in Literature (1896–99) 

Week 9   Mythologizing Degeneration [Packets #5, c. 175 pages; Wilde, Poems; plus c. 25 pictures]

Stephen Arata, “Strange Cases, common fates, degeneration and fiction in the Victorian fin de siècle,” from Fictions of Loss in the Victorian Fin de siècle (1996), 11–32, 186–92.

Chamberlin and Gilman, “Preface,” “Degeneration: An Introduction,” from Degeneration: The Dark Side of Progress, eds. Edward J. Chamberlin and Sander L. Gilman (1985), vii–xiv.

Sandra Siegel, “Literature and Degeneration: The Representation of ‘Decadence,’” from Degeneration: The Dark Side of Progress, eds. Chamberlin and Gilman (1985), 199–219. 

Sander L Gilman, “Sexology, Psychoanalysis, and Degeneration: From a Theory of Race to a Race to Theory,” from Degeneration: The Dark Side of Progress, eds. Chamberlin and Gilman (1985), 72–96.

George John Romanes — “Mental Differences Between Men and Women,” Nineteenth Century 21 (May 1887): 654–72.

Introduction: Virginia Blain, “Mathilde Blind (1841–96).”
Mathilde Blind — “A Fantasy,” “Scarabaeus Sisyphus,” “Mourning Women,” “Noonday Rest,” “The Russian Student’s Tale,” “A Carnival Episode,” “Sonnet,” “A Parting.”

Oscar Wilde — “Requiescat,” “Vita Nuova,” “Impression du Matin,” “The Grave of Keats,” “Hélas!” “Taedium Vitae,” “[Bittersweet Love],” “The Harlot’s House,” “The Ballad of Reading Gaol.”

Introduction: “Richard Le Gallienne (1866–1947).”
Richard Le Gallienne — “To the Reader,” “The Décadent to His Soul.”

Introduction: “Hubert Crackanthorpe (1870–1896).”   
Hubert Crackanthorpe — Embers,” from Wreckage: Seven Studies (1893), 215–32; “Dissolving View,” from Wreckage: Seven Studies (1893), 113–24.

High Victorian Art (on my website: http://web.clas.ufl.edu/users/snod/Texts&Images.htm): Arthur Hughes, April Love (1855-56); William Morris, Queen Guenevere (1858); Ford Madox Brown, “Take Your Son, Sir!” (1851-92) [unfinished]; William Shakespeare Burton, The Wounded Cavalier (1855); D. G. Rossetti, King Arthur’s Tomb (1854), La Ghirlandata (1873), Astarte Syriaca (1877); Edward Burne-Jones, Pan and Psyche (1872-74); William Bouguereau, Naissance de Vénus [Birth of Venus] (1879), Naissance de Vénus [2] (1879); Félicien Rops, La Femme au Lorgnon, or La Buveuse d’Absinthe; Lawrence Alma-Tadema, In the Tepidarium (1881); and Carlos Schwabe, The Faun (1923). 

Week 10   Homoeroticizing the “Religion of Art” [Packet #5, c. 110 pages; plus c. 11 website pictures]

Introduction: “Lionel Johnson (1867–1902)”
Lionel Johnson — “The Cultured Faun,” “The Church of a Dream,” “Mystic and Cavalier,” “To a Passionist,” “In Honour of Dorian and His Creator,” “The Destroyer of a Soul,” “The Dark Angel,” “Nihilism,” “A Decadent’s Lyric.”

Introduction: “Eric Stenbock (1860–1895)”
Count Eric Stenbock — “A Modern St. Venantius,” “The Story of a Scapular,” pp. 95–110.

Introduction: “Baron Corvo [Frederick Rolfe] (1860–1913)”
Baron Corvo [Frederick Rolfe] —“Stories Toto Told Me,” The Yellow Book 9 (April 1896): [86]–101.

Introduction: “Alfred Douglas (1870–1945)”
Alfred Douglas — “Two Loves,” Chameleon 1 (November 1894): 28.

X. [Anonymous] — “The Priest and the Acolyte,” Chameleon 1 (November 1894): 29–47. 

Aubrey Beardsley — “The Three Musicians,” 50–52; “Ballad of the Barber” & The Story of Venus and Tannhäuser (1895–97), 6–46.

Beardsley — Best Works of Aubrey Beardsley, pp. 19, 73–74, 76–77, 79, 82–85, 87–88, 91, 94, 97, 107, 123, 131–35, 144–47, 151, 154–55.   

19th Century Art (on my website: http://web.clas.ufl.edu/users/snod/Texts&Images.htm):  John Collier, In the Venusburg (Tannhäuser) (1901); Douris [Greek Vase Painter], Heterosexual Intercourse, Homosexual Intercourse [Boston], Satyr Reverie [British Museum]; Simeon Solomon, Sappho and Erinna in a Garden at Mytilene (1864), Night (1896); Bacchus (1868); The Sleepers, and the One that Watcheth (1870); Jean-Auguste Renoir, Young Boy with a Cat (1868-69); Fredric Leighton, Athlete Struggling with a Python 1874-77); William Bouguereau, Cupidon (1875); Carlos Schwabe, Les noces du poete avec la muse ou l’ideal (1902).

—— STATEMENT OF THESIS DUE ——

Week 11   Mythologizing the Grotesque [Packet #6, c. 235 pages; Best of Beardsley, c. 35 pictures]

Geoffrey Harpham, “Chapter One: Formation, Deformation, and Reformation: An Introduction to the Grotesque,” from On The Grotesque: Strategies of Contradiction in Art and Literature (Princeton, NJ: Princeton UP, 1982), 3–22 (plus 8 illustrations).

John Ruskin — from “Of Truth of Space,” Modern Painters I (1843): 327–35; from “The Naturalist Ideal,” from “The Grotesque Ideal,” and from “Of the Pathetic Fallacy,” Modern Painters III (1856): 111–19, 130–35, 201–209; from “The Nature of Gothic,” Stones of Venice II (1851): 180–215. 

Ella D’Arcy — “The Death Mask,” The Yellow Book 10 (July 1896): 265–74.

Introduction: “Graham R. Tomson [Rosamund Marriott-Watson] (1860–1911)”
                      Virginia Blain, “Graham R. Tomson [Rosamund Marriott-Watson] (1860–1911)”
Graham R. Tomson [Rosamund Marriott Watson]—“Old Pauline,” “Ballad of the Bird-Bride,” “A Ballad of the Were-Wolf,” “Vespertilia,” “Hic Jacet,” “Children of the Mist,” “The Cage,” “Epitaph,” “Nirvana.”

Introduction: “Vernon Lee [Violet Paget] (1856–1935)”               
Vernon Lee [Violet Paget] — “The Wedding Chest,” “Prince Alberic and the Snake Lady,” from The Yellow Book 10 (July 1896) and republished in 1902.

Aubrey Beardsley — La Morte Darthur and other early pictures: Best Works of Aubrey Beardsley, pp. 3–17, 20–22, 62–72, 124–30; view Dante Gabriel Rossetti’s La Pia de’ Tolomei (1868-80) on my website in conjunction with Beardsley’s Kiss of Judas.

Ian Fletcher, “A Grammar of Monsters,” ELT 30.2 (1987): 141–63.

Chris Snodgrass, “Beardsley’s Oscillating Spaces: Play, Paradox, and the Grotesque,” Reconsidering Aubrey Beardsley, ed. Robert Langenfeld (1989), [19]–52. 

Week 12   Michael Field: The Tragic Art of Love [Packets #6 & #7, c. 90 pages]

Introduction:  Virginia Blain, “Michael Field [Katherine Bradley (1846–1914) and Edith Cooper (1862–1913)]”
Michael Field [Katherine Bradley and Edith Cooper] — Poetry: “Long Ago: XIV,” “A Dance of Death,” “A Dying Viper,” “The Tragic Mary Queen of Scots,” “The Woods Are Still,” “Unbosoming,” “As two fair vessels side by side,” “Embalmment,” “The Mummy Invokes his Soul,” “Trinity,” “Your Rose is Dead,” “Ebbtide at Sundown,”“Maids, not to you my mind doth change,” “L’Indifférent,” “La Gioconda,” “Thanatos, thy praise I sing,” “A Girl,” “It was deep April, and the morn” [a.k.a. “Prologue”], “Venus and Mars” (see website image of Botticelli’s Venus and Mars),” “The Magdalen,” “A Pen-Drawing of Leda.”

Michael Field — Verse Drama: Julia Domna (1903), 1–50.

—— DRAFT OF TERM PAPER DUE (Optional) ——

Week 13   Michael Field: Aestheticizing Classical Tragedy [Packet #7, c. 135 pages]

Michael Field — Verse Drama: Callirrhoë (1884), 1–133.

Week 14   The Reign of the Femme Fatale [Packet #7, c. 85 pages; c. 85 pictures]

Historical images of Fatal Women (on my website: http://web.clas.ufl.edu/users/snod/Texts&Images.htm): Andrea Mantegna, Judith and Holofernes (1495), Judith and Holofernes (1495-1500) [grisaille]; Giorgione, Judith (1504); Caravaggio, Judith & Holofernes (c.1595), Salome receives the Head of Saint John the Baptist (1607-10), Salome With the Head of the Baptist (c. 1609); Artemisia Gentileschi, Judith Slaying Holofernes (c. 1620), Judith Slaying Holofernes, Naples (c. 1620), Judith and her Maidservant (1612-13), Judith and Maidservant with the Head of Holofernes (1625); Peter Paul Rubens, Judith with the Head of Holofernes (c. 1616), Judith with the Head of Holofernes (1620-22); Franz von Stuck, The Sphinx (1889), Sin (1891), Sin (1893), Sin [in frame] (1893), Sin (1899), Sin (1900), Kiss of the Sphinx (1895), Sensuality [Black & White] (1898), Salome (1906), Judith and Holofernes (1926); Carlos Schwabe, Medusa (1895); and Gustav Klimt, Judith I (1901), Judith II (1909). 

19th Century Art (on my website: http://web.clas.ufl.edu/users/snod/Texts&Images.htm):  Jean-Auguste Ingres, La Grande Odalisque (1814), Odalisque with a Slave (1840); Eugène Delacroix, Medea (1838); John Everett Millais, Mariana (1851); William Holman Hunt, The Hireling Shepherd (1851), The Lady of Shalott (1889-92) [Manchester]; Gustav Courbet, La Source du Monde [The Origin of the World] (1862); Edouard Manet, Olympia (1863), Woman with a Parrot (1866), Nana (1877); Frederick Sandys, Morgan le Fay (1864); Gustave Moreau, Oedipus and the Sphinx (1864), Jason & Medea (1865), Samson and Delilah (1881-82), The Poet and the Siren (1894); D. G. Rossetti, Mariana (1870); Edward Burne-Jones, Phyllis and Demophöon (1870), Tree of Forgiveness (1881-82), The Beguiling of Merlin (1874), Perseus Slaying the Sea Serpent, or Doom Fulfilled (1876-88), The Depths of the Sea (1887); Frederic Leighton, The Fisherman and the Siren (1856-58), The Garden of the Hesperides (c. 1892), Félicien Rops, La Tentation de St-Antoine [The Temptation of Saint Anthony] (1878), Pornokrates, or La Dame au cochon (1879), Frontispiece for Les Diaboliques by Barbey d’Aurevilly (1886), L’Incantation [Incantation]; John Collier, Lilith (1887); Lucien Lévy-Dhurmer, Salome Embracing the Severed Head of John the Baptist (1896), Medusa (1897); John Waterhouse, Pandora (1896), Ariadne (1898), Lamia and the Soldier (1905), Lamia (1909; Khnopff, The Caress (1896); Alexandre Cabanal, Cleopatra Testing Poisons on Condemned Prisoners (1897); Herbert Draper, The Water Nymph (1898), The Gates of Dawn (c. 1900), Ulysses and the Sirens (1909), Clyties of the Mist (1912), The Kelpie (1913); Frank Dicksee, La Belle Dame Sans Merci (1902); Edward Poynter, The Cave of the Storm Nymphs (1903); and Arthur Wardle, A Bacchante (1909). 

Introduction: “Theodore Wratislaw (1871–1933)”
Theodore Wratislaw — “To Salome at St. James’s,” The Yellow Book 3 (October 1894): 110–11.

Aubrey Beardsley — Salome pictures from Best of Beardsley (may get better detail on my website), pp. 18, 24–39.  

Arthur Symons — “Aubrey Beardsley” (1898), 87–106; “Studies in Strange Sins (After Beardsley’s Designs)” (1920), 273–85.

Chris Snodgrass, “Decadent Mythmaking: Arthur Symons on Aubrey Beardsley and Salome,” Victorian Poetry 28, No. 3-4 (Autumn-Winter 1990): 61–109.


Week 15   The Iconic Beardsley Woman [Packet #7, c. 15 pages; Best of Beardsley, c. 100 pictures]

Introduction: “Eliza Lynn Linton (1822–1898)”
Eliza Lynn Linton — “The Wild Women As Social Insurgents,” Nineteenth Century 30 (October 1891): 596–605.

Aubrey Beardsley — illustrations from Yellow Book and Savoy periods: Best Works of  Aubrey Beardsley, pp. 23, 40–61, 86, 89, 91–93, 95–107, 136–40, 149–50, 152–53, 156–60; illustrations for The Rape of the Lock, Pierrot of the Minute, Lysistrata, Volpone, and other later projects: Best Works of  Aubrey Beardsley, pp. 95–106, 114–22, 131–35, 148.   

Punch cartoons (see my website): “Prospects for the Coming Season” (Vol 98, p. 147), “Darwinian Theory” (Vol 102, p. 291), “Imitation is Sincerest Flattery” (Vol 98, p. 162), New Woman with Flowerpot Hat (Vol 103, p. 49), New Women Society (Vol 108, p.282), “Bird of Prey” (Vol 102), Woman with Peacock Fan (Vol 104, p. 21), “Descent Into the Maelstrom” (Vol 104, p. 38), “Donna Quixote” (Vol 106), “Beardsley Admiring Himself,” “One & Only Aubrey,” “Portrait of the Artist in Bedlam” (Vol 107, p. 205), “An Appropriate Illustration, by Danby Weirdsley” (Vol 106), “Le Yellow Book” (Vol 108), “Mortarthurio Whiskersley” (Vol 107), “Ars Postera” (Vol 106), “Bodily Precious Head” (Vol 108), “She-Notes” (Vol 106), “Beardsley Promotes Yellow Book Woman (Vol 108),” “Quid Est Pictura? — Veritas Falsa” (Vol. 107, p. 47).

—— TERM PAPER DUE NOON, MONDAY OF FINALS WEEK ——