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The Story of Early Nineteenth-Century British Dandyism

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The Story of Early Nineteenth-Century British Dandyism FROM BRUMMELL TO BYRON: THE STORY OF EARLY NINETEENTH-CENTURY BRITISH DANDYISM 1. Introduction 2 2. Precursors of Dandyism 16 2.1 Etymology of the Word “Dandy” ..................................................................................................... 16 2.2 The Precursors of the Regency Dandies ........................................................................................... 19 2.2.1 French Precursors: The Restoration Comedy ........................................................................... 19 2.2.2 Italian Precursors: “The Macaronis” ........................................................................................ 21 3. The Regency: The Reign of the Dandy 25 3.1 The King of Pleasure: King George IV (1762-1830) ....................................................................... 25 3.1.1 Prince of Wales (1762-1811) .................................................................................................... 25 3.1.2 Prince Regent (1811-1820) and King George IV (1820-1830) ................................................. 29 3.2 The Regency: “the greatest happiness of the smallest number” ..................................................... 31 4. Two Case Studies of Regency Dandyism: “Beau” Brummell and Lord Byron 38 4.1 “Beau” Brummell: The Emergence of Pure Dandyism .................................................................. 38 4.1.1 The Making of a Dandy: “It is my folly the making of me” ..................................................... 42 4.1.1.1 The Family of Surfaces ..................................................................................................... 42 4.1.1.2 The Decisive Years at Eton .............................................................................................. 46 4.1.1.2.1 Education in Latin and Greek .................................................................................... 47 4.1.1.2.2 “Buck” Brummell ..................................................................................................... 48 4.1.1.2.3 Violence, Drinking and Gambling at Eton ............................................................... 50 4.1.1.3 Brummell’s Sexuality ........................................................................................................ 52 4.1.1.4 Oxford University and The 10th Light Dragoons ............................................................. 56 4.1.2 Brummell’s Reign over High Society ....................................................................................... 60 4.1.2.1 An Exclusive Parallelogram .............................................................................................. 60 4.1.2.1.1 Almack’s: “The Seventh Heaven of the Fashionable World” .................................. 61 4.1.2.1.2 The Art of Cutting and Greeting in Hyde Park .......................................................... 62 4.1.2.2 A Ménage Recherché ....................................................................................................... 63 4.1.3 Leader of Male Fashion ............................................................................................................. 66 4.1.4 Brummell’s Wit: Do you call that thing a coat? ....................................................................... 72 4.1.5 The Legacy of “Beau” Brummell in Literature ......................................................................... 75 4.1.5.1 Captain William Jesse’s Life of George Brummell ........................................................... 76 4.1.5.2 The Fashionable Novel ..................................................................................................... 78 4.1.5.3 Barbey d’Aurevilly’s Du dandysme et de George Brummell ......................................... 80 4.1.5.3.1 “Anglomania” of the 1820s and 1830s ...................................................................... 81 4.1.5.3.2 Jules-Amadée Barbey d’Aurevilly ............................................................................ 82 4.2 Lord Byron: The Emergence of Literary Dandyism ........................................................................ 85 4.2.1 Lord Byron and “Beau” Brummell: Mutual Fascination and Jealousy .................................... 85 4.2.2 Byron’s Fascinating and Dramatic Life: A Portrait of a Doomed Dandy ................................. 88 4.2.2.1 A Journey into Despair: Byron’s Childhood .................................................................... 89 4.2.2.2 Byron’s Grand Tour of 1809-1811 .................................................................................. 101 4.2.2.3 Fame, Legend, Myth, and “Byromania” ........................................................................ 105 4.2.2.4 Byron’s Dandyism ........................................................................................................... 109 4.2.2.5 Lyrical Dandyism ............................................................................................................ 112 4.2.3 The Byronic Hero .................................................................................................................... 116 4.2.3.1 The Literary Tradition of the “Bandit-Hero” ................................................................. 116 4.2.3.2 Description of the Byronic Hero .................................................................................... 120 4.2.3.3 Descendants of the Byronic Hero .................................................................................... 123 4.2.4 The Promethean Man .............................................................................................................. 126 4.2.4.1 Promethean Fire ............................................................................................................... 127 4.2.4.2 The Promethean Man in Byron’s Poetry ........................................................................ 127 4.3 Charles Baudelaire: The Emergence of Rebellious Dandyism ...................................................... 130 4.3.1 “His Eminence Monsignor Brummell”: Baudelaire’s Dandyism ........................................... 133 4.3.2 Towards a Precise Definition of Dandyism ........................................................................... 135 1 FROM BRUMMELL TO BYRON: THE STORY OF EARLY NINETEENTH-CENTURY BRITISH DANDYISM 4.3.2.1 The Intimate Journals: Mon cœur mis à nu and Fusées .................................................. 135 4.3.2.2 Notes nouvelles sur Edgar Poe ........................................................................................ 141 4.3.2.3 Le peintre de la vie moderne .......................................................................................... 142 4.3.2.3.1 “The Dandy” ............................................................................................................ 142 4.3.2.3.2 “In Praise of Cosmetics” .......................................................................................... 147 5. Epilogue: The Decadence of Dandyism in Fin-de-Siècle England 148 6. Bibliography 155 1. Introduction Women readers shall have to forgive me for my addressing male readers first, but one particular question has engaged me ever since I began my research on nineteenth- century dandyism one and a half year ago. Dear reader, do you think you would qualify as a dandy? What exactly makes or breaks a dandy? How to recognise a twentieth-first- century dandy? Does his dandyism equal or outshine nineteenth-century dandyism? The answer to the last question is as predictable as it is easy: probably not. In his biographical essay Du dandysme et de George Brummell (1844) (On Dandyism and George Brummell), the French writer Jules Barbey d’Aurevilly (1808-1889), whose dandyish and Byronic airs boosted his poor self-esteem, insisted that “the day that the society which produced Dandyism was transformed, Dandyism would be no more.”1 And yet there are men today whose idiosyncrasies strike us as dandyish: their unrestrained narcissism, for example, their fastidiousness about clothes and personal hygiene, their inclination to alcohol and drug abuse, their eating disorders, their fear and depression problems, their megalomaniac and self-destructive schemes, their sense of failure and a grating void inside, their poor self-image, their incapacity of steady relationships, their subsequent loneliness, their fits of uncontrollable emotions, their manipulative philandering, and their unquenchable thirst for success. Whereas these “remarkable” men are now conveniently diagnosed with a borderline personality disorder, nineteenth-century dandies based their sudden rise to fame on these idiosyncrasies and entertained their public for a remarkably long stretch of time before they were discarded for another plaything. In the strictest sense of the word, dandyism was an essentially aesthetic doctrine and a cultural phenomenon that was inextricably linked to the Regency, the period of transition in British history that stretched from 1788, the eve of the French revolution, 1 Walden, George, and Jules-Amadée Barbey d’Aurevilly. Who’s a Dandy? London: Gibson Square Books, 2003: p. 146; orig. French: «le jour où la société qui produit le Dandysme se transformera, il n’y aura plus de Dandysme.» (Barbey d’Aurevilly, Jules-Amadée. Du dandyisme et de George Brummell. Paris: Ballend, 1986: p. 102). 2 FROM BRUMMELL TO BYRON: THE STORY OF EARLY NINETEENTH-CENTURY BRITISH DANDYISM to 1830, the year in which George IV (1762-1830), the King of Pleasure,
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