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References
Cited in Ernest Raynaud,En Marge de la mêlée symboliste (Paris, Mercure de France, 1936), p. 67.
Le Décadent, 1–15 January, 1888, p. 2.
Ibid., Le Décadent, 1–15 January, 1888, p. 2.
Ibid., Le Décadent, 1–15 January, 1888, p. 3.
Emile Zola,Œuvres complètes (Paris, Cercle du Livre Précieux, 1968), XII, p. 379. All subsequent references to this edition will appear in the text. The Roman numeral will denote the volume, the Arabic the page.
A rebours (Paris, Fasquelle, 1972), p. 224.
Correspondance (Paris, Gallimard, 1965), II, p. 51.
See Mallarmé's letters to Zola gathered, classified, and annotated by Henri Mondor and Lloyd James Austin in 4 volumes of correspondance. These letters clearly show Mallarmé's friendship and admiration for Zola. See alsoEn Marge de la mêlée symboliste, p. 43, andLes “Gossips” deMallarmé: “Athenaeum” 1875–1876 (Paris, Gallimard, 1962), pp. 21–22, 24, 29, 63, 68, 82, in which Mallarmé reviews some of Zola's novels. See also Jules Huret,Enquête sur l'évolution littéraire (Paris, Charpentier, 1891), pp. 63–64.
En Marge de la mêlée symboliste, p. 51.
Let us recall that confusion reigned any time critics attempted to determine real differences between the two rival movements. Critics such as Brunetière, Lemaître, and Huret, to mention but a few, equated Symbolism with Decadence.
Zola expressed this idea on countless occasions. In 1891, for instance, in an article entitled “La Démocratie” published inLe Figaro, he wrote: “La vraie démocratie en littérature est là: parler de tous et parler à tous, donner droit de cité dans les lettres à toutes les classes et s'adresser ainsi à tous les citoyens” (XIV, 654).
A rebours, p. 240.
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Esteban, M.A. Zola's critical opinions on “les dieux de la chapelle décadente”. Neohelicon 8, 161–172 (1981). https://doi.org/10.1007/BF02089696
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DOI: https://doi.org/10.1007/BF02089696