Joris-Karl Huysmans: A Life of Literature and Luxury
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Full Name and Common Aliases


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Charles Marie Georges Huysmans was born on February 5, 1848, in Paris, France. He is commonly known as Joris-Karl Huysmans to distinguish himself from his brother Charles-Louis Huysmans.

Birth and Death Dates


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Born: February 5, 1848, in Paris, France
Died: May 12, 1907, in Moret-sur-Loing, France

Nationality and Profession(s)


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French novelist, poet, art critic, and Catholic apologist.

Early Life and Background


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Huysmans was born into a family of modest means. His father, a lithographer, died when Joris-Karl was just six years old. The young Huysmans grew up in the Latin Quarter of Paris, where he developed an early interest in literature and art. He attended the Lycée Louis-le-Grand before studying law at the University of Paris.

In 1868, Huysmans abandoned his legal studies to pursue a career in journalism. He began writing articles for various publications, including the _Gazette des Tribunaux_ and the _Revue contemporaine_. His early work was heavily influenced by the literary movements of his time, particularly naturalism and realism.

Major Accomplishments


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Huysmans' most notable achievements can be seen in his novels. Some of his major works include:

A rebours (Against the Grain) (1884): A novel that explores themes of decadence and aestheticism.
Là-bas (Down There) (1891): A historical novel about the French artist Jacques Collignon, who was accused of Satanism in 16th-century France.
La Cathédrale (The Cathedral) (1898): A novel set in the fictional city of Mont-Saint-Vincent, exploring themes of Catholicism and morality.

Notable Works or Actions


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Huysmans' work was heavily influenced by his conversion to Catholicism in 1891. His novels often explored themes of spirituality and morality, reflecting his newfound faith.

In addition to his literary achievements, Huysmans was also known for his art criticism. He wrote several articles on art and architecture, including a book about the cathedral of Chartres.

Impact and Legacy


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Huysmans' impact on literature is still felt today. His novels have been influential in shaping the literary movements of the late 19th and early 20th centuries. His work has also had a significant influence on the development of horror and supernatural fiction.

In addition to his literary legacy, Huysmans' conversion to Catholicism helped pave the way for other authors who sought to explore themes of spirituality and morality in their work.

Why They Are Widely Quoted or Remembered


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Huysmans is widely quoted or remembered for several reasons:

His exploration of themes such as decadence, aestheticism, and Catholicism has made him a key figure in the development of modern literature.
His novels have been influential in shaping the literary movements of his time and beyond.
His conversion to Catholicism helped pave the way for other authors who sought to explore themes of spirituality and morality in their work.

Overall, Joris-Karl Huysmans was a complex and multifaceted individual whose contributions to literature continue to be felt today.

Quotes by Joris-Karl Huysmans

Now God refused to come down to earth in the form of potato-flour; that was an undeniable, indisputable fact.
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Now God refused to come down to earth in the form of potato-flour; that was an undeniable, indisputable fact.
There are two ways of ridding ourselves of a thing which burdens us, casting it away or letting it fall. To cast away requires an effort of which we may not be capable, to let fall imposes no labour, is simpler, without peril, within reach of all. To cast away, again, implies a certain interest, a certain animation, even a certain fear; to let fall is absolute indifference, absolute contempt; believe me, use this method, and Satan will flee.
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There are two ways of ridding ourselves of a thing which burdens us, casting it away or letting it fall. To cast away requires an effort of which we may not be capable, to let fall imposes no labour, is simpler, without peril, within reach of all. To cast away, again, implies a certain interest, a certain animation, even a certain fear; to let fall is absolute indifference, absolute contempt; believe me, use this method, and Satan will flee.
Curious, a man’s affection for the object that he manipulates.
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Curious, a man’s affection for the object that he manipulates.
Neither the next day, nor the day after that, did M. Folantin’s unhappiness dissipate; he simply let himself drift, incapable of resisting this crushing feeling of depression. Mechanically, under a rainy sky, he would make his way to his office; then he would leave it, eat, and go to bed at nine, only to resume the following day the exact same routine; little by little he slid into complete spiritual apathy.
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Neither the next day, nor the day after that, did M. Folantin’s unhappiness dissipate; he simply let himself drift, incapable of resisting this crushing feeling of depression. Mechanically, under a rainy sky, he would make his way to his office; then he would leave it, eat, and go to bed at nine, only to resume the following day the exact same routine; little by little he slid into complete spiritual apathy.
It was here that she was indeed Woman, for here she gave rein to her ardent and cruel temperament. She was living, more refined and savage, more execrable and exquisite. She more energetically awakened the dulled senses of man, more surely bewitched and subdued his power of will, with the charm of a tall venereal flower, on sacrilegious beds, in impious hothouses.
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It was here that she was indeed Woman, for here she gave rein to her ardent and cruel temperament. She was living, more refined and savage, more execrable and exquisite. She more energetically awakened the dulled senses of man, more surely bewitched and subdued his power of will, with the charm of a tall venereal flower, on sacrilegious beds, in impious hothouses.
It was still quite motionless and he felt it with his fingers; it was dead. Accustomed, no doubt, to an uneventful existence, to a humble life spent beneath its poor carapace, it had not been able to bear the dazzling splendor thrust upon it, the glittering cope in which it had been garbed, the gems with which its back had been encrusted, like a ciborium.
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It was still quite motionless and he felt it with his fingers; it was dead. Accustomed, no doubt, to an uneventful existence, to a humble life spent beneath its poor carapace, it had not been able to bear the dazzling splendor thrust upon it, the glittering cope in which it had been garbed, the gems with which its back had been encrusted, like a ciborium.
Progress is the hypocrisy which refines the vices.
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Progress is the hypocrisy which refines the vices.
He wanted, in short, a work of art both for what it was in itself and for what it allowed him to bestow on it; he wanted to go along with it and on it, as if supported by a friend or carried by a vehicle, into a sphere where sublimated sensations would arouse within him an unexpected commotion, the causes of which he would strive to patiently and even vainly to analyse.
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He wanted, in short, a work of art both for what it was in itself and for what it allowed him to bestow on it; he wanted to go along with it and on it, as if supported by a friend or carried by a vehicle, into a sphere where sublimated sensations would arouse within him an unexpected commotion, the causes of which he would strive to patiently and even vainly to analyse.
And then he experienced an inexplicable confusion of thoughts, like a rosary of ideas comprised of diverse and ingenious beads that had unraveled and was now rattling around in his brain with no thread linking them, no coherence.
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And then he experienced an inexplicable confusion of thoughts, like a rosary of ideas comprised of diverse and ingenious beads that had unraveled and was now rattling around in his brain with no thread linking them, no coherence.
If Baudelaire, in hieroglyphics of the soul, had deciphered the return of the age of the sentiment and ideas, Poe, in the field of morbid psychology had more especially investigated the domain of the soul.
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If Baudelaire, in hieroglyphics of the soul, had deciphered the return of the age of the sentiment and ideas, Poe, in the field of morbid psychology had more especially investigated the domain of the soul.
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