Pattern and rhythm are the road to open symbolism, and the arts have already become full of pattern and rhythm. Subject pictures no longer interest us, while pictures with patterns and rhythms of colour, like Mr. Whistler's, and drawings with patterns and rhythms of line, like Mr. Beardsley's in his middle period, interest us extremely. Mr. Whistler and Mr. Beardsley have sometimes thought so greatly of these patterns and rhythms, that the images of human life have faded almost perfectly; and yet we have not lost our interest. The arts have learned the denials, though they have not learned the fervours of the cloister. Men like Sir Edward Burne-Jones and Mr. Ricketts have been too full of the emotion and the pathos of life to let its images fade out of their work, but they have so little interest in the common thou~hts and emotions of life, that their images of life have delicate and languid limbs that could lift no burdens, and souls vaguer than a sigh; while men like Mr. Degas, who are still interested in life, and life at its most vivid and vigorous, picture it with a cynicism that reminds one of what ecclesiastics have written in old Latin about women and about the world.

Once or twice an artist has been touched by a visionary energy amid his weariness and bitterness, but it has passed away. Mr. Beardsley created a visionary beauty in Salome with the Head of John the Baptist, but because, as he told me, "beauty is the most difficult of things," he chose in its stead the satirical grotesques of his later period. If one imagine a flame burning in the air, and try to make one's mind dwell on it, that it may continue to burn, one's mind strays immediately to other images; but perhaps, if one believed that it was a divine flame, one's mind would not stray. I think that I would find this visionary beauty also in the work of some of the younger French artists, for I have a dim memory of a little statue in ebony and ivory. Certain recent French writers, like Villiers De L'Isle Adam, have it, and I cannot separate art and literature in this, for they have gone through the same change, though in different forms. [234]

References

William Butler Yeats. "A Symbolic Artist and the Coming of Symbolic Art" [an essay on Althea Gyles]. The Dome. London 1898.


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