In lieu of an abstract, here is a brief excerpt of the content:

1 An Annotated Bibliography A A 1. Abou-Bakr, Randa. “Robert Browning’s ‘Dramatic Lyrics’: Contributions to a Genre.” Alif: Journal of Comparative Poetics 21 (2001): 113–40. Robert Browning’s poems in “Dramatic Lyrics” present “the thoughts and inner feelings and conflicts of the speaker in what Arthur Symons refers to as the ‘subtle mental complexity’ of Browning’s poetry” (120). “The humorous, nonchalant manner [that Browning uses in such poems as “The Confessional,” “Soliloquy of the Spanish Cloister,” and “Evelyn Hope”], which Arthur Symons describes as ‘strong and thoughtful humor … gay and hearty, satirical and incisive in turn’ … constitutes a voice in its own right, which might engage in conflict with other voices in the poem, thus contributing to the multiplicity of voices that cannot be heard in one way” (122). 2. Abrams, M. H. “Kant and the Theology of Art.” Notre Dame English Journal 13.3 (1981): 75–106. In tracing the history of “art-as-such” into contemporary criticism, the Symbolist Movement plays one of many important parts. During this movement the concept of a “religion of art” developed fully and persuasively in its relation to art for art’s sake. AS, the “English exponent” of French Symbolism, reflected this concern in his book The Symbolist Movement in Literature. [Brief mention of AS.] 3. Adams, Jad. Hideous Absinthe:A History of the Devil in a Bottle. Madison,WI: U of Wisconsin P, 2004. 145, 148, 156, 167, 169, 170, 171, 233. “Symons was not a poet of the first rank, and like many other such, he wrote a poem called ‘The Absinthe Drinker,’ with such lines as ‘The hours are all / Linked in a dance of mere forgetfulness’” (148). “Evelyn Waugh and his brother Alec drank absinthe in London, but rather self-consciously, as Alec wrote many years later: ‘Not many people alive today have drunk it. I did in the Domino Room at the Café Royal. I took it with appropriate reverence, in memory of Dowson and Arthur Symons’”(233). [Passing references to AS.] 4. Adams, Jad. Madder Music, StrongerWine:The Life of Ernest Dowson, Poet and Decadent . New York: I. B. Tauris, 2000. 14, 34–35, 36, 37, 41, 48, 49, 57, 68, 73–74, 81, 85–87, 96, 103, 105, 107–10, 113–14, 124, 125, 130, 132–34, 139, 140, 169– 70, 174, 182. AS’s comments on Dowson’s apparent drug use contributed to the latter’s reputation as a frequent drug user (81). AS understood Dowson’s love of Adelaide because he had a similar experience with a ballet dancer named Lydia (85).The Yellow Book was having a scandalous success, and making celebrities out of AS and Beardsley (96). Smithers, the “new king of the decadents,” agreed to publish AS’s London Nights, and thus found his way into Dowson’s circle (105). AS’s review of Dowson’s Verses in the Savoy is credited with creating the Dowson legend : “the swift, disastrous, and suicidal energy of genius” (132). AS’s memoir of 2 Arthur Symons, Critic Among Critics A Dowson is “unashamedly a piece of journalism,” but since Dowson read it before publication, “[i]f it is inaccurate, therefore, it contains inaccuracies with which Dowson himself concurred” (133–34). AS wrote Dowson’s obituary in the Athenaeum , and a longer, more thoughtful tribute in the Fortnightly Review (170). 5.Adlard, John.“Poetry and the Stage-Doors of the ’Nineties.” Review of English Literature 7 (October 1966): 50–60. In the ’nineties it was the ballet of the music-halls that influenced poetry. AS spent his ’nineties evenings in the Empire and the Alhambra discoursing in his high voice on the artistic merits of the dance. In London Nights and Silhouettes AS came near to creating a poetry of ballet, but failed because his fetishisms, his obsessive pose of Don Juanism, and his self-conscious revolt against his Puritan upbringing all intruded themselves into his verse. [Informative article; well documented .] (Stern) 6. Adlard, John. Stenbock,Yeats and the Nineties: With an Hitherto Unpublished Essay by Arthur Symons and a Bibliography by Timothy D’Arch Smith. London: Cecil & Amelia Woolf, 1969. 1, 2, 47, 89–94. [References to AS are slight, but the inclusion of AS’s ms., “A Study in the Fantastic ,” on Stenbock makes the book valuable to the AS scholar despite the fact that the essay is imperfect, written when AS’s faculties were somewhat impaired.] (Stern) 7. Ahrends, Günter. “Ästhetizismus und Realismus in der englischen...


Additional Information

Related ISBN
MARC Record
Launched on MUSE
Open Access
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.