Undergraduate Review

Volume 14 | Issue 1 Article 5

2002

Aubrey Beardsley: Definition of the Decadence

Cory Killian '03
Illinois Wesleyan University

Recommended Citation
Killian '03, Cory (2002) "Aubrey Beardsley: Definition of the Decadence," Undergraduate Review: Vol. 14: Iss. 1, Article
5.
Available at: http://digitalcommons.iwu.edu/rev/vol14/iss1/5

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 Reynen
~tions: Motherhood and Women's Factory
anagement in Japan in the 1930S and 1940s." Bern
mong women in the Taisho Cotton Textile Industry."
Vorking Women During the Interwar Years." Bern
aphies of Desire: Male-male Sexuality in Japanese
. Berkeley: University of California Press, 1999.
>eath in Japan. Trans. Rosemary Morris. Cambridge:
Ika: Sexual Politics and Popular Culture in Modern
rersity ofCalifornia Press, 1998.
otell: Sexuality and Suicide in Imperial Japan."
~): 1-35
Beardsley provides a fitting figurative poster child for the prevalent mentality of
white supremacy in the anti-globalization move
.istance. Mar. 2002.
battle with consumption just months short of his twenty-sixth birthday. Though
oolourslsivesind.html>.
Beardsley's illustrations may not be the most artistically profound, metaphorically,
Kilian Killian '03: Aubrey Beardsley: Definition of the Decadence 25
Aubrey Beardsley: Definition of the Decadence
COlyKilian
PART ONE: Aubrey Beardsley, Personification of The 1890S
The final decade of the nineteenth century is nicknamed 'the Beardsley
period' in recognition of the artist whose life is said to have epitomized the era. This
was the fin de siecle, a time in history characterized by an attitude of anxiety and
bewilderment towards the impending new century, perhaps best summarized by
the interrogative title of an 1897 painting by fellow artist Paul Gauguin, Whence
come we? What are we? Where are we going? Young poster illustrator Aubrey
urgency: Beardsley, following a meteoric rise to fame, would succumb to his lifelong
his ascent to world renown (with the 1894 publication of Oscar Wilde's Salome) and
subsequent 1898 death frame a frantic and fruitful career that parallels the attitude
of that decade in which they occurred.
Beardsley's ideology is both a factor and a product of 1890S mentality. In
this respect, he had much in common ideologically with his contemporary painters,
including Gauguin, Odilon Redon, and James Ensor, although the style of his art
work varies tremendously. like these artists, Beardsley was an early Symbolist,
placing an emphasis upon that which was not immediately observable to the out
side world through frequent use of literary allusion. He shared Redon's disdain
towards the literalism of Impressionism. Redon invoked both the literary and the
dramatic in his CyclopsJI898), Orpheus (1903), and Ophelia (1905); Beardsley
appealed to both forms within his own illustrations of literature and drama, result
ing in the "witty, irreverent and grotesque" (Raby).
The grotesque is a common theme in Beardsley's and Ensor's shared fasci
nation with facades. Beardsley once remarked, "I have one aim-the grotesque. If I
am not grotesque I am nothing" (Weintraub). Ensor's 1890 painting, Intrigue is
very similar to Beardsley's 1894 frontispiece to Plays by John Davidson. Both de-
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 26 Undergraduate Review, Vol. 14, Iss. 1 [2002], Art. 5 Kilian
pict a range of well-known people of the era (incidentally, both artists include their
own sisters) though the faces of all characters carry mask-like resemblances. In an
example of artistic stereotype spilling into reality, both Beardsley and Gauguin
fashioned dramatic public personas, their own personal facades. In their art, they
depicted themselves as sinister and somewhat demonic characters, though ac
quaintances described both as colorful and flamboyant in life. They differ signifi
cantly on an important point, however. Gauguin cast himself as a Bohemian,
dressed in poetic black, and created a spectacle when followed by his Mulatto ser
vant and pet monkey; Beardsley cast himself as the quintessential dandy, dressed
fastidiously in the latest fashions, and created a spectacle with his manner of affec
tation. One man championed the Noble Savage, the other the Decadence. Fellow
dandy and sometime friend Oscar Wilde once remarked that "Dear Aubrey is al
ways too Parisian, he cannot forget that he has been to Dieppe-once." (Weintraub
60).
Beyond the ideological similarities that resulted from 1890S mentality,
Beardsley had his own distinct, "unmistakably modern" (Raby 30) style. He
managed to exploit, like no one before him, a mode of
black-and-white design that reproduced easily and faithfully, thus
enabling him to expand in unprecedented fashion the sensational
effects and seductive allure of his equally unprecedented subver
sive images (Snodgrass 95)
Beardsley's work was unique in form, public accessibility, and content.
Contemporaries called Beardsley the master of the line. Stylistically,
"often he left much of the surface virtually untouched, boldly, yet sensitively, strik
ing in a line or a curve, and creating dramatic effects with masses of black and
white...[he] stripped away nonessentials...simplicity was key." (Weintraub, 250).
His medium was almost inevitably Indian ink, and he would work obsessively and
continuously on one drawing, utilizing one sheet of paper for all stages of prepara
tion. He first sketched everything in pencil, "constantly rubbed out and blocked in
again-to indicate the general rhythm and composition and balance." He then so
lidified the major lines, first in pencil, and then in ink, "before erasing or obliterat
ing anything he did not want." According to a friend,
the whole surface became raddled from pencil, indiarubber and
knife, over this incoherent surface he worked in Chinese ink with a
http://digitalcommons.iwu.edu/rev/vol14/iss1/5
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Kilian
gold pen, often ignoring the pencil lines, a
moved. So every drawing was invented, b
on the same sheet of paper (Raby 114)
In the execution of his work, Beardsley exhibited "I
almost obsessive control, but also a sense of contim
(Raby, 115). The resulting illustrations were calligr.
continuum of Beardsley's transition from emphasis
works (such as Salome and the Yellow Book) to an ;
(notable in both The Rape ofthe Lock and Volpone:
Stylistically, Beardsley was greatly influenc
result, his works employ the conventions of flat cole
nals and sharp edges notable in many of Gauguin's
his own work as "something suggestive of Japan, bl
subjects were quite mad and a little indecent...stran
wandering about in Pierrot costumes or modem drl
own creation." (Raby 26). This statement reflects tI
though he was greatly influenced by other styles, in.
works of Whistler and Burne Jones, his works were
tions. It is possible that this conglomerate method:
of any formal art schooling.
Beardsley's work differs significantly from
raries in that it was designed for reproduction. A nE
ing the line-block method, was at his disposal. Whe
of his contemporaries suffered, losing effect in the 1=
Beardsley's illustrations flourished. Mass productie
an illustrator; publications varied from magazines (
literature (Le Morte D'Arthur) to plays (Salome ane
In the era where the poster was not considered art,
claiming "Advertisement is an absolute necessity of
made beautiful as well as obvious, so much the bett_
the public who are likely to wash." (Weintraub 85).
defend the art of the poster and exhibits an overridi
ence of modernity and change.
2
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-
Kilian
eople of the era (incidentally, both artists include their
;of all characters cany mask-like resemblances. In an
espilling into reality, both Beardsley and Gauguin
~rsonas, their own personal facades. In their art, they
:er and somewhat demonic characters, though ac-
IS colorful and flamboyant in life. They differ signifi
,however. Gauguin cast himself as a Bohemian,
:reated a spectacle when followed by his Mulatto ser
Iley cast himself as the quintessential dandy, dressed
ions, and created a spectacle with his manner of affec
I the Noble Savage, the other the Decadence. Fellow
>scar Wilde once remarked that "Dear Aubrey is al
furget that he has been to Dieppe-once." (Weintraub
:al similarities that resulted from 1890S mentality,
t, "unmistakably modern" (Raby 30) style. He
I exploit. like no one before him, a mode of
ign that reproduced easily and faithfully, thus
md in unprecedented fashion the sensational
:allure of his equally unprecedented subver
ISS 95)
in fonn, public accessibility, and content.
~ Beardsley the master of the line. Stylistically,
face virtually untouched, boldly, yet sensitively, strik
eating dramatic effects with masses of black and
rtessentials...simplicity was key." (Weintraub, 250).
tably Indian ink, and he would work obsessively and
utilizing one sheet of paper for all stages of prepara
ning in pencil, "constantly rubbed out and blocked in
rhythm and composition and balance." He then so
l pencil, and then in ink, "before erasing or obliterat
According to a friend,
:arne raddled from pencil, indiarubber and
.erent surface he worked in Chinese ink with a
Published by Digital Commons @ IWU, 2002
r-----------------------.---- .
view
Kilian Killian '03: Aubrey Beardsley: Definition of the Decadence 27
gold pen, often ignoring the pencil lines, afterwards carefully re
moved. So every drawing was invented, built up, and completed
on the same sheet of paper (Raby 114)
In the execution of his work, Beardsley exhibited "extraordinary concentration and
almost obsessive control, but also a sense of continuously flirting with danger."
(Raby, 115). The resulting illustrations were calligraphic. There is a recognizable
continuum of Beardsley's transition from emphasis of the pure line in his earlier
works (such as Salome and the Yellow Book) to an almost embroidered effect
(notable in both The Rape ofthe Lock and Volpone).
Stylistically, Beardsley was greatly influenced by Japanese prints. As a
result, his works employ the conventions of flat color, elevated perspective, diago
nals and sharp edges notable in many of Gauguin's paintings. Beardsley described
his own work as "something suggestive of Japan, but not really japonesque...the
subjects were quite mad and a little indecent...strange hermaphroditic creatures
wandering about in Pierrot costumes or modern dress; quite a new world of my
own creation." (Raby 26). This statement reflects the whole of Beardsley's work:
though he was greatly influenced by other styles, including the Japanese print, the
works of Whistler and Burne Jones, his works were ultimately his own unique crea
tions. It is possible that this conglomerate method is the result of Beardsley's lack
of any formal art schooling.
Beardsley's work differs significantly from that of many of his contempo
raries in that it was designed for reproduction. A new sort of printing press, utiliz
ing the line-block method, was at his disposal. Whereas the painted masterpieces
of his contemporaries suffered, losing effect in the process of mass production,
Beardsley's illustrations flourished. Mass production was integral to his career as
an illustrator; publications varied from magazines (Yellow Book and The Savoy) to
literature (Le Morte D'Arthur) to plays (Salome and Volpone) to advertisements.
In the era where the poster was not considered art, Beardsley published a treatise
claiming "Advertisement is an absolute necessity of modern life, and if it can be
made beautiful as well as obvious, so much the better for the makers of soap and
the public who are likely to wash." (Weintraub 85). His bold statement goes on to
defend the art of the poster and exhibits an overriding consciousness of the pres
ence of modernity and change.
3
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 28 Undergraduate Review, Vol. 14, Iss. 1 [2002], Art. 5 Kilian
Beardsley led a capitalist enterprise. Effective mass production meant
greater consumption, meant greater profits, both monetary and reactionary. The
public came to regard his work as sensationalist-it is no coincidence that his Yel
low Book and "yellow journalism" share a common adjective. He "evoked aspects of
social and cultural life that the Victorian Establishment preferred not to be show
cased in such a sardonic and suggestive manner, and, even worse, with a parodic
humor poised on the edge of caricature." (Raby 108). Beardsley's art reflected the
essence of the 1890'S.
Beardsley's work has been criticized as subversive and praised as
"sublimely elegant." (Raby). Above all, it is both celebrated and condemned as
Decadent. The 1890S was the decade of the Dandy, championed by Baudelaire with
the intent to "espouse[s] waste, idleness and lavish spending in direct contradiction
to the bourgeois values of utility, work, and thrift." (Snodgrass 206). In direct con
trast to the campaign of the natural Noble Savage, the Dandy was revered, justified
by the philosophy that evil is intrinsically human and goodness is a virtue. Thus,
the perceived "dirtiness" of the natural human state was rejected in favor of the
artificiality of cleanliness, personified by flamboyant attire (Snodgrass 207). Hu
man beings became objects of art and facade was of the utmost importance. The
worlds depicted by Beardsley are artificial in form and corrupt in morals. The over
riding philosophy was that "art should serve no master but itself; nor should the
artist serve any public, but devote himself uncompromisingly to his craft."
(Weintraub 103). Beardsley did not seek to please; he sought to provoke. Hence,
"If Beardsley's work is 'decadent,' it is so largely because it reflects a stratum of so
ciety lacking moral fiber." (Werner 49).
From his introduction into the public spotlight with the early publication
of Le Morte D~rthur (1893) through his world-renowned illustrations of Oscar
Wilde's Salome (1894), and imminent fall from grace by association with Wilde,
Beardsley's rise to fame was rapid. He solidified his reputation as "Dandy of the
Grotesque," gained from Salome, through his role as art editor in the avant-garde
Yellow Book. His own controversial illustrations became a staple in that literary
magazine, drawing subscriptions through the hungry public's tabloid-esque fasci
nation. Nothing was untouchable: he ~ricatured everyone from those whom he
perceived to have wronged him (as in The Fat Woman, 1894, a caricature of Whis
tIer's wife) to the uninvolved (Caricature ofOueen Victoria, unpublished due to
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_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _...rtt
"'--
Kilian
censorship). His efforts as art editor of The Sauoy t
as have his illustrations for Lysistrata (18(}6). He Yo
trations for Alexander Pope's Rape o/the Lock (189
(1898), as well as dozens of posters, bookplates, titl.
tions. He was prolific and recognized enough by 1~
Drawings, commemorating his career to that point.
tion from pure line to embellished, his inspiration "
demonstrate the spirit ofthejin de siecle, as the end
Beardsley, factor and product of the 1890s, wouldal
almost compulsive desire to violate, scanda
conventional boundaries of decorum...[witl
to affirm and incorporate the metaphysical
authority, particularly the absolute hegema
even moral truth (Snodgrass preface)
PART TWO: Analysis of Work
"I invented Aubrey Beardsley," (Raby 36) cl
Wilde. Though the artist himself was to become inn.
wright's pompous words (Wilde's purpose in speakil
defend the utterance of his bold statement. Beardsle
could not have come without his association with Wi
shaped his persona and impacted his career. Thougl
despise Wilde, their names, as symbols of the Decaci
despite strained personal relations.
The pair met before Beardsley's rise to fame
was initially drawn to Wilde. In 1893 Wilde publish.
Wilde's "signal of his intention to be modern as well
(Raby 36). The play was already criticized as "contrc
before its 1894 translation into English. The bilingu.
edition, which inspired his J'ai baise ta bouche Iokar
this illustration, in turn, resulted in Wilde's gift to BE
"inscribed enigmatically: 'For Aubrey: for the only a
knows what the dance of the seven veils is, and can s
4
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...'_liW.rt.,.....'Iilo _
I

Kilian
:alist enterprise. Effective mass production meant
~rea.ter profits, both monetary and reactionary. The
ic as sensationalist-it is no coincidence that his Yel
lism" share a common adjective. He "evoked aspects of
e Victorian Establishment preferred not to be show
5Uggestive manner, and, even worse, with a parodic
::aricature." (Raby 108). Beardsley's art reflected the
;been criticized as subversive and praised as
..oove all, it is both celebrated and condemned as
decade ofthe Dandy, championed by Baudelaire with
e, idleness and lavish spending in direct contradiction
ity, work, and thrift." (Snodgrass 206). In direct con
atural Noble Savage, the Dandy was revered, justified
Intrinsically human and goodness is a virtue. Thus,
e natural human state was rejected in favor of the
sonified by flamboyant attire (Snodgrass 207). Hu
'art and facade was of the utmost importance. The
are artificial in form and corrupt in morals. The over
t should serve no master but itself; nor should the
~ote himself uncompromisingly to his craft."
~d not seek to please; he sought to provoke. Hence,
lnt: it is so largely because it reflects a stratum of so
lmer49).
n into the public spotlight with the early publication
hrough his world-renowned illustrations of Oscar
lminent fall from grace by association with Wilde,
lpid He solidified his reputation as "Dandy of the
ne, through his role as art editor in the avant-garde
rersial illustrations became a staple in that literary
IllS through the hungry public's tabloid-esque fasci
lble: he caricatured everyone from those who~ he
11 (as in The Fat Woman, 1894, a caricature of Whis
~ricature of Queen Victoria. unpublished due to
,jew
Kilian
Killian '03: Aubrey Beardsley: Definition of the Decadence
29
censorship). His efforts as art editor of The Savoy have been termed pornographic,
as have his illustrations for Lysistrata (1896). He was known for his intricate illus
trations for Alexander Pope's Rape o/the Lock (1896) and Ben Jonson's Volpone
(1898), as well as dozens of posters, bookplates, title pages and magazine contribu
tions. He was prolific and recognized enough by 1897 to publish a Book 0/Fifty
Drawings, commemorating his career to that point. Though his style would transi
tion from pure line to embellished, his inspiration would remain literary. All works
demonstrate the spirit of the fin de siecle, as the end of his life drew nearer. Aubrey
Beardsley, factor and product of the 1890s, would always exhibit an
almost compulsive desire to violate, scandalize and destabilize
conventional boundaries of decorom...[with] equally strong need
to affirm and incorporate the metaphysical certainty of traditional
authority, particularly the absolute hegemony of art, style, and
even moral troth (Snodgrass preface)
PART TWO: Analysis of Work
"I invented Aubrey Beardsley," (Raby 36) claimed the ostentatious Oscar
Wilde. Though the artist himself was to become infuriated upon hearing the play
wright's pompous words (Wilde's purpose in speaking them), Wilde had reason to
defend the utterance of his bold statement. Beardsley's meteoric ascent to success
could not have come without his association with Wilde, an acquaintance that both
shaped his persona and impacted his career. Though Beardsley reportedly grew to
despise Wilde, their names, as symbols of the Decadence, would remain affiliated
despite strained personal relations.
The pair met before Beardsley's rise to fame. It is possible that Beardsley
was initially drawn to Wilde. In 1893 Wilde published Salome, written in French,
Wilde's "signal of his intention to be modern as well as a tribute to another culture."
(Raby 36). The play was already criticized as "controversial, and confrontational"
before its 1894 translation into English. The bilingual Beardsley read the French
edition, which inspired his J'ai baise ta bouche Iokanaan (1893). The publication of
this illustration, in turn, resulted in Wilde's gift to Beardsley of a copy of the text,
"inscribed enigmatically: 'For Aubrey: for the only artist who, besides myself,
knows what the dance of the seven veils is, and can see that invisible dance.
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 30 Undergraduate Review, Vol. 14, Iss. 1 [2002], Art. 5 Kilian
Oscar.'" (Raby 35). Beardsley was commissioned as illustrator for the English
tain to the stage as is the three candles bisecting it. T1
translation in 1893.
in turn, are perpendicular to the stage and the fourth
Relations eventually grew strained, as "Wilde's most comfortable relation
ships were usually with people who did not compete directly with him. Beardsley's
genius challenged Wilde's." (Raby 36). On one occasion Wilde remarked in his
typical style of scathing compliment that
Absinth is to all other drinks what Aubrey's drawings are to other
pictures; it stands alone; it is like nothing else; it shimmers like
southern twilight in opalescent colouring; it has about it the se
duction of strange sins. It is stronger than any other spirit and
brings out the subconscious self in man. It is just like your draw
ings, Aubrey; it gets on one's nerves and is cruel (Weintraub 61).
One of the most exemplary drawings of Beardsley's Salome series, both in
terms of artistic convention and controversiality is Enter Herodias. The series itself
depicts a gamut of Beardsley's techniques: "By the time the drawings were com
plete, Beardsley's style had altered" (Raby 41). The illustrations are plugged as "a
series of fantastic decorations about Wilde's play which were as alien to the subject
as was the play." (Weintraub 58). Perhaps the source of any hostility of Wilde to
wards Beardsley was that the resulting
completed pictures were reversing the usual relationship of writer
and illustrator. They were as serious as they were impudent, and
possessed so much power independent of the text-that Oscar's
play was in danger of being in the embarrassing position of illus
trating Aubrey's illustrations (Weintraub 59).
Furthermore, the title page credits of the published volume read "Pictured by Au
brey BeardSley" (Wilde titlepage) lending credence to Beardsley's usurpation.
The composition of Enter Herodias rests within a triple-lined frame, a
typical Beardsley convention denoting ambiguity. The mask, another symbol of
ambiguity, has been called "the essence of the grotesque," and "what Beardsley's
pictures ultimately 'mask' is an alienating vacuum, askewed signifiers pointing to
ward a metaphysical nothingness." (Snodgrass 226). The liminal atmosphere
evokes unrest with its discomfiting lack of definition.
Japanese influence is replete in.the diagonals evidenced by the sweep of
Herodias' cloak, and stark angles are juxtaposed in the perpendiculars of the cur
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which runs parallel to both the curtain and the candl~
turized. Indeed, Wilde later criticized the drawings, S
while my play is Byzantine." (Weintraub 57).
The central figure is Herodias, the femme fal
breasts and exposed navel evidence her sexuality. Ye
trademark ambiguity, her body below the oversized b
) lar, a kind of omnipotent phallus." (Snodgrass 228).
her black hair and belt provide the only dark tones in
drawing, magnifying both her physical and psychol~
flanked on each side by an attendant. To her left is a
trademark old-man/fetuses. The old-man/fetus has 1
of Beardsley's career: it is old before its time, brough
its life aborted before it fully has a chance to live-pm
shortened by his premature death (Snodgrass 181). [
ven foot signify debauchery as it sinisterly grips Hero
She is the "oversexed female," and he succumbs to he
excitement is masked by his clothing, but in fact his e
nored." Even more scandalous, "the drawing is so co
'heat of passion' is in the same pen stroke highlighted
mined: we see that this erection is about to be inters.
flame-in effect, he 'burns' and is burned in turn." (8.
themselves suggest phallic shapes. Despite the powe:
istic "metaphorical nothingness" is invoked. The grol
)
,
but stares past her-towards the other attendant or tc
\ caricature of Wilde in the bottom corner?
J
The attendant to Herodias's right is distinct)
drogynous, another typical Beardsley convention. Be
he offers even more paradoxical ambiguities. He hoI.
a symbolic mask. Yet in both his and Herodias' nake.
In his other hand, he literally holds a small black m~
despite the fact that he is looking straight at her, the ;;
6
 Kilian
I was commissioned as illustrator for the English
grew strained, as "Wilde's most comfortable relation
e who did not compete directly with him. Beardsley's
~by 36). On one occasion Wilde remarked in his
limentthat
r drinks what Aubrey's drawings are to other
me; it is like nothing else; it shimmers like
lpalescent colouring; it has about it the se
IlS. It is stronger than any other spirit and
llSCious self in man. It is just like your draw
>n one's nelVes and is cruel (Weintraub 61).
Ilplary drawings of Beardsley's Salome series, both in
Id controversiality is Enter Herodias. The series itself
i techniques: "By the time the drawings were corn
ered." (Raby 41). The illustrations are plugged as "a
about Wilde's play which were as alien to the subject
i8). Perhaps the source of any hostility of Wilde to
resulting
'ere reversing the usual relationship of writer
'were as serious as they were impudent, and
lwer independent of the text-that Oscar's
'being in the embarrassing position of illus
trations (Weintraub 59).
edits of the published volume read "Pictured by Au
gel lending credence to Beardsley's usurpation.
~nter Herodias rests within a triple-lined frame, a
lenoting ambiguity. The mask, another symbol of
e essence ofthe grotesque," and "what Beardsley's
I alienating vacuum, askewed signifiers pointing to
ess." (Snodgrass 226). The liminal atmosphere
iting lack of definition.
replete in the diagonals evidenced by the sweep of
les are juxtaposed in the perpendiculars of the cur
iew
Kilian
Killian '03: Aubrey Beardsley: Definition of the Decadence
31
tain to the stage as is the three candles bisecting it. The three figures on the stage,
in turn, are perpendicular to the stage and the fourth figure's outstretched arm,
which runs parallel to both the curtain and the candles. AU figures are flat, carica
turized. Indeed, Wilde later criticized the drawings, saying "They are too Japanese,
while my play is Byzantine." (Weintraub 57).
The central figure is Herodias, the femme fatale. Her enonnous bare
breasts and exposed navel evidence her sexuality. Yet, in accord with Beardsley's
trademark ambiguity, her body below the oversized breasts is "a stiff and erect pil
\j lar, a kind of omnipotent phallus." (Snodgrass 228). She is the tallest in stature;
her black hair and belt provide the only dark tones in the upper portion of the
drawing, magnifying both her physical and psychological dominance. She is
flanked on each side by an attendant. To her left is a grotesque, one of Beardsley's
trademark old-man/fetuses. The old-man/fetus has been interpreted as symbolic
of Beardsley's career: it is old before its time, brought into the world prematurely,
its life aborted before it fully has a chance to live-paralleling Beardsley's career
shortened by his premature death (Snodgrass 181). Its pointed fingernails and clo
ven foot signify debauchery as it sinisterly grips Herodias' robes in its clawed fist.
She is the "oversexed female," and he succumbs to her power: "His state of sexual
excitement is masked by his clothing, but in fact his erection can hardly be ig
nored." Even more scandalous, "the drawing is so composed that the creature's
'heat of passion' is in the same pen stroke highlighted and humorously under
mined: we see that this erection is about to be intersected by the center candle's
flame-in effect, he 'burns' and is burned in tum." (Snodgrass 226). The candles
themselves suggest phallic shapes. Despite the power ofthis image, the character
istic "metaphorical nothingness" is invoked. The grotesque looks not at Herodias,
,
but stares past her-towards the other attendant or towards the fourth figure, the
1
I caricature of Wilde in the bottom comer?
J
The attendant to Herodias's right is distinctly human, yet distinctly an
drogynous, another typical Beardsley convention. Beyond effeminate masculinity,
he offers even more paradoxical ambiguities. He holds in one hand a powder puff,
a symbolic mask. Yet in both his and Herodias' naked states, nothing is masked.
In his other hand, he literally holds a small black mask. Unlike the grotesque, and
despite the fact that he is looking straight at her, the attendant is not aroused by the
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 Undergraduate Review, Vol. 14, Iss. 1 [2002], Art. 5 Kilian Kilian
32
femme fatale, "casting some doubt on Herodias' presumably pervasive erotic in a book opening published and distributed in Engl
power." (Snodgrass 226). more, by "placing it firmly in the eighteen-nineties,"
work for the dark elements of cruelty and eroticism,
Beardsley's drawings were often subject to censorship, and in a later ver
and blurring of gender," shocking the prudish Victor
sion, the attendant's genitalia were covered by the addition of a fig leaf, overlooking
reflection of infamy on Beardsley's career must have
the phallic candles and aroused state ofthe grotesque. Mocking such censorship,
view he claimed
Beardsley rebutted, in the instance of the Toilet of Salome. The original deemed
inappropriate, he substituted with a completely new and presumably more decent We first of all reach the high-water mark of
otry, and then follows the reaction. Rabid P
image of a Salome anachronistically clad in late nineteenth century dress. In the like a high wave and is immediately followe
case of Enter Herodias, he assented to the change fairly willingly, adding the fig of brutal coarseness. This again is succeede
sorship of the public day, which I hope willi
leaf, and sending a proof of the copy to a friend, with the mocking poem "Because more tolerance and breadth of opinion... (W
one figure was undressed/ This little drawing was suppressed/ It was unkind--/ But
Both reflecting the 1890S and mocking them, Aubrey
never mind/ Perhaps it all was for the best." (Raby 41). Perhaps his willingness was
challenge.
based on a belief that the fig leaf only served to support the mocking tone of the
illustration.

The final, lower right-hand figure is a caricature of Wilde, dressed fool
ishly, yet denoted as wise in an owl cap. He is fittingly depicted in the position of
master of ceremonies, both "the original 'masker' and 'unmasker.'" Foolishly, like
the grotesque, his raised arm is in danger of being burned by the flames of the phal
lic candles, mocking the sagacity of the owl cap. Ironically, Beardsley's japonesque
signature is prominently drawn below Wilde's raised arm. Because the figure occu
pies a space in the foreground, his dominance combats that of Herodias, "Rather
Works Cited
Aesthetes and Decadents of the 1890S. ed. Beckson. C
1981.
"Aubrey Beardsley." Apollo March 1975: 208-21.4.
"Aubrey Beardsley." Arts Magazine February 1967: 5:

than connecting us to the 'central' action, the connecting figure actually diverts the
focus to himself, creating two focal points instead of one." (Snodgrass 228). This is
likely a purposeful representation of Wilde's real life demeanor. As Beardsley's
dislike of Wilde grew, so did the courage of his mockery.
"Beardsley Burlesqued?" American Artist October 19';
Johnson, Diane Chalmers. "A Contribution to the '90':
203.

Enter Herodias has been disparaged as "The most evil of all Beardsley's "Oscar Wilde's Salome." American Artist October 196
designs" (Snodgrass 226) and hailed as "a strong indication of his swiftly develop
Raby, Peter. Aubrey Beardsley and the Nineties. Lone
ing mastery." (Johnson 198). One review found the mocking illustrations of Sa
1998.
lome to be "ajoke," (Weintraub 70) while they are also commended with having
"brought out something of the play's dramatic qualities, and at the same time Reade, Brian. Aubrey Beardsley. London: Her Majes;
hinted at and suggested other levels and meanings." (Raby 44). Regardless, at its
Snodgrass, Chris. Aubrey Beardsley. Dandy of the Gra
release, Beardsley "had made publishing histoIy...some of the illustrations in the
University Press, 1995.
volume finally printed included more 'erotic' details than had ever been seen before
http://digitalcommons.iwu.edu/rev/vol14/iss1/5 8
The Undergraduate Review The Undergraduate Review

"- . .bw
 Kilian
I)ubt on Herodias' presumably pervasive erotic
were often subject to censorship, and in a later ver
...ere covered by the addition of a fig leaf, overlooking
1state ofthe grotesque. Mocking such censorship,
mce of the Toilet of Salome. The original deemed
nth a completely new and presumably more decent
ically clad in late nineteenth century dress. In the
:oted to the change fairly willingly, adding the fig
copy to a friend, with the mocking poem "Because
j little drawing was suppressed/ It was unkind--/ But
for the best" (Raby 41). Perhaps his willingness was
IT only served to support the mocking tone of the
hand figure is a caricature of Wilde, dressed fool
owl cap. He is fittingly depicted in the position of
e original 'masker' and 'unmasker.''' Foolishly, like
i io danger of being burned by the flames of the phal
ty ofthe owl cap. Ironically, Beardsley's japonesque
1below Wilde's raised arm. Because the figure occu
his dominance combats that of Herodias, "Rather
ral' action, the connecting figure actually diverts the
Geal points instead of one." (Snodgrass 228). This is
ion of Wilde's real life demeanor. As Beardsley's
e courage of his mockery.
!Cn disparaged as "The most evil of all Beardsley's
1ailed as "a strong indication of his swiftly develop
)ne review found the mocking illustrations of Sa
170) while they are also commended with having
play's dramatic qualities, and at the same time
evels and meanings." (Raby 44). Regardless, at its
ublishing history...some of the illustrations in the
I more 'erotic' details than had ever been seen before
iew
Kilian Killian '03: Aubrey Beardsley: Definition of the Decadence 33
in a book opening published and distributed in England." (Weintraub 6<)). Further
more, by "placing it firmly in the eighteen-nineties," he created a "disturbing frame
work for the dark elements of cruelty and eroticism, and of the deliberate ambiguity
and blurring of gender," shocking the prudish Victorian audience. This ambivalent
reflection of infamy on Beardsley's career must have pleased him: in a 1987 inter
view he claimed
We first of all reach the high-water mark of narrow-minded big
otry, and then follows the reaction. Rabid Puritanism comes in
like a high wave and is immediately followed by a steady ebb-tide
of brutal coarseness. This again is succeeded by the finicking cen
sorship of the public day, which I hope will be followed by a little
more tolerance and breadth of opinion... (Weintraub 205)
Both reflecting the 1890S and mocking them, Aubrey Beardsley answered his own
challenge.
Works Cited
Aesthetes and Decadents ofthe 1890S. ed. Beckson. Chicago: Academy Chicago Press
1981.
"Aubrey Beardsley." Apollo March 1975: 208-214.
"Aubrey Beardsley." Arts Magazine February 1967: 55.
"Beardsley Burlesqued?" American Artist October 1972: 7-8.
Johnson, Diane Chalmers. "A Contribution to the '90'S." Apollo March 1970: 198
203
"Oscar Wilde's Salome." American Artist October 1967: 25.
Raby, Peter. Aubrey Beardsley and the Nineties. London: Collins & Brown Limited,
1998.
Reade, Brian. Aubrey Beardsley. London: Her Majesty's Stationary Office, 1967.
Snodgrass, Chris. Aubrey Beardsley. Dandy of the Grotesque. New York: Oxford
University Press, 1995.
Published
The by Digital CommonsReview
Undergraduate @ IWU, 2002 9
 34 Undergraduate Review, Vol. 14, Iss. 1 [2002], Art. 5 Kilian

Weintraub, Stanley. Beardsley. New York: George Braziller, Inc., 1967.

Werner, Alfred. "Aubrey Beardsley's Expressive Line." American Artist March 1972:
--- -...
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__ _ ....

44-49,66.

Wilde, Oscar. Salome. Trans. Lord Alfred Douglas. New York: Dover Publications
1967.

5-8 EnID &rodias (proof eX an illultration b SGIomt). (Dmrtn,

Gallatin Collection, I'rinaton Univcnicy library, Princdon, N.).]

http://digitalcommons.iwu.edu/rev/vol14/iss1/5 10
The Undergraduate Review

,---.. '_ _ $ ~ _ " " ' M " ~ '" '_t"",*" _

 Kilian Killian '03: Aubrey Beardsley: Definition of the Decadence
~. New York: George Braziller, Inc., 1967
---_ .... _-
-"~"".-."~
-... ,
- ... ,
. . " .

-- ---. - ~
--"
. .... .
.
rdsley's Expressive line." American Artist March 1972 :

i. Lord Alfred Douglas. New York: Dover Publications

s-a EIlIC HmJdias (proof eX an ilbaation lOr SGIomt). (DmrirlI no. IOIIwll:h poem), Alben: ueene
Gallatin Collection, Princeton Uniwniy Library, Princ:cton, N.J.)

Published by Digital Commons @ IWU, 2002 11

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