decadents, in literature, name loosely applied to those 19th-century, fin-de-siècle European authors who sought inspiration, both in their lives and in their writings, in aestheticism and in all the more or less morbid and macabre expressions of human emotion. In reaction to the naturalism of the European realists, the decadents espoused that art should exist for its own sake, independent of moral and social concerns. The epithet was first applied in the 1880s to a group of self-conscious and flamboyant French poets, who in 1886 published the journal Le Décadent. The decadents venerated Baudelaire and the French symbolists symbolists, in literature, a school originating in France toward the end of the 19th cent. in reaction to the naturalism and realism of the period. Designed to convey impressions by suggestion rather than by direct statement, symbolism found its first expression in
..... Click the link for more information. , the group with whom they are often mistakenly identified. In England the decadent movement was represented in the 1890s by Oscar Wilde, Walter Pater, Ernest Dowson, and Aubrey Beardsley and the writers of the Yellow Book. J. K. Huysmans's À rebours (1884) and Wilde's Picture of Dorian Gray (1891) present vivid fictionalized portraits of the 19th-century decadent—his restlessness, his spiritual confusion, and his moral inversion.

Bibliography

See A. E. Carter, The Idea of Decadence in French Literature (1958); M. Rheims, The Flowering of Art Nouveau (1966); J. Pierrot, The Decadent Imagination, 1880–1900 (tr. 1981).

Decadents

Group of poets of the end of the 19th century, including some French Symbolists (see Symbolist movement), notably Stéphane Mallarmé and Paul Verlaine, and the later generation of England's Aesthetic movement (see Aestheticism), notably Arthur Symons and Oscar Wilde. Many nonpoets, including the novelist Joris-Karl Huysmans and the artist Aubrey Beardsley, are also often associated with the Decadents. The Decadents emphasized art for art's sake (see Walter Pater), seeing it as autonomous and opposed to nature and to the materialistic preoccupations of industrialized society, and therefore stressed the bizarre, incongruous, and artificial in both their work and their lives.