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The Harlot's House (Illustrated)
The Harlot's House (Illustrated)
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Proofed and corrected from the original edition for enjoyable reading. (Worth every penny spent!)
***
"The Harlot's House" is lyrical poem.
The poet is standing in the street outside the house of the Scarlet Woman and looks up at the windows of which the blinds are drawn down. It is night, and on the blinds appear the "silhouettes" of the dancing figures, the "marionettes" within.
In this poem Oscar Wilde overcame his objection to the use of words ending in "ette" for which he professed a real artistic horror. The last lines of the poem in which he speaks of the dawn fleeing down the street like a frightened girl are very beautiful.
Perhaps the tone of the whole thing, like that of "The Sphynx," is not "robust," but, as we have said, Oscar Wilde was then impregnated with the essence of Baudelaire's "Fleurs du Mal."
Althea Gyles's hectic visions which, in her illustrations for Wilde's The Harlot's House, probably reached the acme of the period's realisation of the weird. She is of course really of the Irish symbolists, and not one of the nineties' group at all.
***
"The Harlot's House" is lyrical poem.
The poet is standing in the street outside the house of the Scarlet Woman and looks up at the windows of which the blinds are drawn down. It is night, and on the blinds appear the "silhouettes" of the dancing figures, the "marionettes" within.
In this poem Oscar Wilde overcame his objection to the use of words ending in "ette" for which he professed a real artistic horror. The last lines of the poem in which he speaks of the dawn fleeing down the street like a frightened girl are very beautiful.
Perhaps the tone of the whole thing, like that of "The Sphynx," is not "robust," but, as we have said, Oscar Wilde was then impregnated with the essence of Baudelaire's "Fleurs du Mal."
Althea Gyles's hectic visions which, in her illustrations for Wilde's The Harlot's House, probably reached the acme of the period's realisation of the weird. She is of course really of the Irish symbolists, and not one of the nineties' group at all.
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