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Aubrey Beardsley, Salome and Satire

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Aubrey Beardsley, Salome and Satire AUBREY BEARDSLEY, SALOME AND SATIRE I SusanOwens PhD Degree University College London 2002 LD USW. Abstract This thesis proposes that the illustrations produced by Aubrey Beardsley for the first English edition of Oscar Wilde's play Salonzi are primarily motivated by a strong satirical agenda.Whilst it has usually been acknowledged that this group of illustrations harbours some satirical elements, these have never before been regarded as anything other than isolated occurrences. The iconography of Beardsley's Salomi illustrations has rarely been subjected to close visual analysis or lengthy explication. All early studies of Beardsley's work and the pioneering and monumental cataloguing work carried out in the 1960sinevitably contain a number of misconstructions and lacunae. Recent critical accounts of the Salomi illustrations, mostly theory-led and written from outside the discipline of art history, have on the one hand relied upon these interpretations, yet have on the other hand espousedvarious degreesof epistemological scepticism and historical relativism not calculated to provide new interpretations of these images in the light of their historical contexts. Countering this tendency, this thesis sets out to establish these contexts and to identify and explain thejokes which run throughout this sequenceof illustrations. As a preliminary step to this analysis, my first chapter narrates a production history of the illustrations, and unravels the complex sequenceof events relating to the commission. A second chapter surveys late nineteenth-century conventions of satire and literary and visual caricatures of Beardsley's principal target, Wilde. Following this, the body of the thesis is devoted to a detailed account of each image. These accounts explore the range of meanings at work within a broad context of contemporary visual culture, and offer a radical reinterpretation of the Sal=6 illustrations. 3 Table of Contents List of figures 4 Acknowledgments 7 Introduction 8 I 'A veritablefronde': the ProductionHistory of Salomj 15 II 'The head of Oscar the Podtast on a charger': Beardsley's Satirical Context 32 III 'Under the microscope,sideways and upside-down':the Salomi Illustrations 58 Section i 'The Woman in the Moon' 59 Section ii Titlepage 69 Section iii Border for the list of pictures 80 Section iv 'The Peacock Skirt' 86 Section v 'The Black Cape' 95 Section vi 'A Platonic Lament' 103 Section vii 'Enter Herodias' 110 Section viii 'The Eyes of Herod' 124 Section ix 'The Stomach Dance' 129 Section x 'The Toilette of Salom6' (first version) 136 Section xi 'The Toilette of Salom6' (second version) 147 Section xii 'The Dancer's Reward' 155 Section xiii 'The Climax' 160 Section xiv Tailpiece 164 Section xv 'John and Salom6' 170 Section xvi 'Salom6 on Settle', or 'Meitresse d'Orchestre' 173 Conclusion 179 Illustrations 183 Bibliography 258 List of Figures I. Title page of Salomj (first version) 2. Proof impression of 'Enter Herodias' (first version) 3. Cover design of Salomi (first version) 4. Cover design of SalomJ (second version) 5. Cover design of Salomj (as published) 6. Sir Edward Linley Sambourne, 'Charles Bradlaugh, MP' 7. Napoleon Sarony, photograph of Wilde 8. Arthur Bryan, caricature of Wilde 9. Sir Edward Linley Sambourne, caricature of Wilde 10. Max Beerbohm, 'Oscar Wilde' 11. Carlo Pellegrini, 'Oscar Wilde' 12. Max Beerbohm, caricature of Wilde on fly leaf of Salomg 13. Design for chapter heading of chapter XIX, book 1, of Le Morte Darthur 14. Design for front cover of The Savoy, no. 1 15. Design for front cover of prospectus for The Savoy, no. 1 16. Illustration to book 11of Virgil'sEneid. 'ABneasHeareth the Clash of Arms' 17. 'The Angler's Metamorphose' 18. Max Beerbohm, Whistler dissolving into the caricature of ID shapeof an extinguished candle 19. 'Mr Arthur Cecil as Baron Stein' 20. 'Mr Forbes Robertson as Julian Beauclerc' 21. 'ThePilgrim' 22. 'Bullet Proof Uniform: Tommy Atkins thinks it rather fun' 23. Thomas Rowlandson, 'The Departure of the Husband' 24. F61icienRops, 'Le Velocip6de' 25. JamesGillray, 'Presentation of the Mahometan Credentials' 26. Frontispiece to Salomj, 'The Woman in the Moon' 27. Charles Ricketts, frontispiece to Hero andLeander 28. 'How King Mark found Sir Tristram sleeping', from LeMorteDarthur 29. Frontispiece to Muses' Library edition of Robert Herrick's Poems 30. 'AveAtque Vale' 5 3 1. Photograph of Wilde 3 2. Title page of Salomj (published version) 33. Charles Ricketts and Charles Shannon, title page of A House of Pomegranates 34. Frontispiece to the PKapeia 3 5. 'Un Therme de Priape' from Monuments du Culte Secret des Dames Romaines 3 6. 'Oscar Wilde at Work' 37. Photograph of E. W. Godwin's statue of Pan 38. Border for the List of Pictures 39. Illustration for'At a Distance' 40. 'The Peacock Skirt' 4 1. James McNeill Whistler, south wall of Peacock Room 42. 'The Black Cape' 43.1894 fashion plate 44. 'A Platonic Lament' 45. 'Enter Herodias' (published version) 46. Max Beerbohm, 'At the First Night, 1892' 47. Bernard Partridge, 'Fancy Portrait' 48. Headpiece to Alexander Pope, The Dunciad 49. Title page to Alexander Pope, The Dunciad 50. Photograph of Beatrice Whistler 5 L'The Fat Woman' 52. Details of figures 45 and 51 53. Photograph of Lord Alfred Douglas (detail) 54. William Rothenstein, drawing of Douglas 55. Max Beerbohm, caricature of Wilde and Douglas in restaurant 56. Details of figures 45,53,54 and 55 57. Illustration to Rabelaisfrom LesSonges Drolatiques de Pantagruel 58. 'The Eyesof Herod' 59. 'The StomachDance' 60. JulesCh6ret, 'La Ldfe Fuller' 6 1. JacquesCallot, 'Le com6dienmasqu6jouant de la guitare' 62. 'The Toilette of Salom6'(first version) 63. Alfred Concanen,'My AestheticLove, or Utterly Utter, ConsummateToo Too' 64. Photographof JohnLane 6 65. Letter drawing of John Lane 66. Max Beerbohm, caricature of John Lane 67. 'The Toilette of Salom6' (second version) 68. Photograph of Elkin Mathews 69. Design for the prospectus of The Yellow Book 70. 'The Dancer's Reward' 7 L'The Climax' 72. Gustave Moreau, 'L'Apparition' 73. 'Fai Bais6 ta Bouche, lokanaan, Fai Bais6 ta Bouche' 74. Tailpiece for Salom6 75. Richard Bentley, tailpiece for Thomas Gray's Poems 76. Claude Mellan after Nicholas Poussin, 'Horace receiving the Satyr's mask' 77. 'John and Salom6' 78. 'Salom6 on Settle', or'Malitresse d'Orchestre' 79. Vignette on p. 53 of Bon Mots of Samuel Foote & 77zeodoreHook 80. Design for invitation card for John Lane's'Sette of Odd Volumes Smoke' 7 Acknowledgments I would particularly like to thank my supervisor at UCL, Dr Thomas Gretton, for his assistanceand advice. Thanks are also due to Professor David Bindman and Dr Emma Chambers. For discussionsabout Beardsley I would like to thank David Beeversof Brighton Museum,Stephen Calloway of the Victoria andAlbert Museum,David Colvin, Dr JasonEdwards of the University of York, the late Siegfriedvon Frieblisch,Dr ElizabethPrettejohn of the University of Plymouth,Mark SamuelsLasner, Professor MargaretStetz and Matthew Sturgis. The staff of the Prints and Drawings Department at the British Museum, those at the in the Fog- Art Museum in Harvard, the Princeton University Library print room ký and the print room of the Los Angeles County Museum of Art have all been very helpful. Finally, I would like to thank my parents, Bernard and Janet Owens, for all their encouragement 8 Introduction Oscar Wilde's play SalomJ was the most infamous illustrated book of the 1890s. Published in early 1894, when Wilde was at the height of his fame and Aubrey Beardsley was an ambitious but little known illustrator of 21, the book created a sensation. ' Beardsley's illustrations challenged textual authority and operated with a degree of autonomy which was untenable in terms of the institutional and discursive hierarchies of the time. Recognition of the strength of this challenge is apparent in the immediate critical responseto the book's publication. 2 The first edition of Wilde's play, written in French, had been published in Paris in February of the previous year, and had attracted many reviews; in this first issue of the English translation of the text Beardsley's illustrations became the principal object of critical attention. The book was widely reviewed, and the language used is illuminating about the problematic nature of the illustrations. To take an instance from each end of the scale from the conservative to the liberal press, The Times, in a curt notice which deals with both the illustrations and the text of Salomi, bluntly comments of Beardsley's images: 'we hardly know what to say of them. 13The review goes on to state that the illustrations are 'unintelligible for the most part, and, so far as they are intelligible, repulsive. ' The Times firmly places the illustrations outside the realm of rational critical analysis; unintelligibility and repulsivenessare equally good reasons to avoid any close critical contact: the images are dismissed summarily for the former and shunned for the latter. Yet in a curiously similar vein, Theodore Wratislaw, in a long and largely sympathetic review of Salomi in the Artist and Journal ofHome Culture, ascribes 'extreme limits of insanity and unhealthiness' to the illustrations. 4 I Beardsley'swork had beenbrought to the public attentionfor the first time in April 1893,when the art critic JosephPennell published an article, 'A New Illustrator. Aubrey Beardsley',in 77W Studio, 1 (1893), 14-19. 2 The critical receptionof Beardsley'swork is discussedin depthby JaneHaville Desmaraisin The BeardsleyIndustry:
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