Read through the most famous quotes by topic #decadence
(Baudelaire) had descended to the bottom of the inexhaustible mine, had picked his way along abandoned or unexplored galleries, and had finally reached those districts of the soul where the monstrous vegetations of the sick mind flourish. There, near the breeding ground of intellectuals aberrations and disease of the mind - the mysterious tetanus, the burning fever of lust, the thyphoids and yellow fevers of crime – he had found, hatching in the dismal forcing-house of ennui, the frightening climacteric of thoughts and emotions. ↗
I have no idea how long Quisser was gone from the table. My attention became fully absorbed by the other faces in the club and the deep anxiety they betrayed to me, an anxiety that was not of the natural, existential sort but one that was caused by peculiar concerns of an uncanny nature. What a season is upon us, these faces seemed to say. And no doubt their voices would have spoken directly of certain peculiar concerns had they not been intimidated into weird equivocations and double entendres by the fear of falling victim to the same kind of unnatural affliction that had made so much trouble in the mind of the art critic Stuart Quisser. Who would be next? What could a person say these days, or even think, without feeling the dread of repercussion from powerfully connected groups and individuals? I could almost hear their voices asking, "Why here, why now?" But of course they could have just as easily been asking, "Why not here, why not now?" It would not occur to this crowd that there were no special rules involved; it would not occur to them, even though they were a crowd of imaginative artists, that the whole thing was simply a matter of random, purposeless terror that converged upon a particular place at a particular time for no particular reason. On the other hand, it would also not have occurred to them that they might have wished it all upon themselves, that they might have had a hand in bringing certain powerful forces and connections into our district simply by wishing them to come. They might have wished and wished for an unnatural evil to fall upon them but, for a while at least, nothing happened. Then the wishing stopped, the old wishes were forgotten yet at the same time gathered in strength, distilling themselves into a potent formula (who can say!), until one day the terrible season began. Because had they really told the truth, this artistic crowd might also have expressed what a sense of meaning (although of a negative sort), not to mention the vigorous thrill (although of an excruciating type), this season of unnatural evil had brought to their lives. ("Gas Station Carnivals") ↗
In this image (watching sensual murder through a peephole) Lorrain embodies the criminal delight of decadent art. The watcher who records the crimes (both the artist and consumer of art) is constructed as marginal, powerless to act, and so exculpated from action, passive subject of a complex pleasure, condemning and yet enjoying suffering imposed on others, and condemning himself for his own enjoyment. In this masochistic celebration of disempowerment, the sharpest pleasure recorded is that of the death of some important part of humanity. The dignity of human life is the ultimate victim of Lorrain's art, thrown away on a welter of delighted self-disgust. ↗
For Zola, as for Huysmans, nature itself is uncanny because it is the domain of the feminine, a domain that is constitutionally defective, lacking, even pathological. ↗
#decadent #emile-zola #feminine #joris-kerl-huysmans #nature
