(; translated Against Nature or Against the Grain) is an 1884 novel by the French writer Joris-Karl Huysmans. The narrative centers on a single character: Duke Jean des Esseintes, an eccentric, reclusive, ailing aesthete. The last scion of an aristocratic family, Des Esseintes loathes nineteenth-century bourgeois society and tries to retreat into an ideal artistic world of his own creation. The narrative is almost entirely a catalogue of the neurotic Des Esseintes's aesthetic tastes, musings on literature, painting, and religion, and hyperaesthetic sensory experiences.
contains many themes that became associated with the Symbolist aesthetic. In doing so, it broke from Naturalism and became the ultimate example of "Decadent" literature, inspiring works such as Oscar Wilde's The Picture of Dorian Gray (1890). In his preface for the 1903 publication of the novel, Huysmans wrote that he had the idea to portray a man "soaring upwards into dream, seeking refuge in illusions of extravagant fantasy, living alone, far from his century, among memories of more congenial times, of less base surroundings ... each chapter became the sublimate of a specialism, the refinement of a different art; it became condensed into an essence of jewellery, perfumes, religious and secular literature, of profane music and plain-chant."Huysmans 2003, pp. 207–208.
Background
marked a watershed in Huysmans' career. His early works had been Naturalist in style, being realistic depictions of the drudgery and squalor of working- and lower-middle-class life in Paris. However, by the early 1880s, Huysmans regarded this approach to fiction as a dead end. As he wrote in his preface to the 1903 reissue of :It was the heyday of Naturalism, but this school, which should have rendered the inestimable service of giving us real characters in precisely described settings, had ended up harping on the same old themes and was treading water. It scarcely admitted—in theory at least—any exceptions to the rule; thus it limited itself to depicting common existence, and struggled, under the pretext of being true to life, to create characters who would be as close as possible to the average run of mankind.Huysmans decided to keep certain features of the Naturalist style, such as its use of minutely documented realistic detail, but apply them instead to a portrait of an exceptional individual: the protagonist Jean des Esseintes. In a letter of November 1882, Huysmans told Émile Zola, the leader of the Naturalist school of fiction, that he was changing his style of writing and had embarked on a "wild and gloomy fantasy". This "fantasy", originally entitled Seul (Alone), was to become .Baldick 2006, pp. 115, 121.
The character of Des Esseintes is partly based on Huysmans himself, and the two share many of the same tastes, although Huysmans, on his modest civil-service salary, was hardly able to indulge them to the same extent as his upper-class hero.Baldick writes, "the true prototype for des Esseintes, as Léon Bloy later remarked, was Huysmans himself". Baldick (2006), p. 123. Huysmans biographer Robert Baldick names other models for Des Esseintes: Ludwig II of Bavaria, Edmond de Goncourt, Jules Barbey d'Aurevilly, Francis Poictevin, and Robert de Montesquiou.Baldick 2006, pp. 121-122.
The most important model, apart from Huysmans himself, was the notorious aristocratic aesthete Montesquiou, who was also the basis for Baron de Charlus in Marcel Proust's À la recherche du temps perdu. Montesquiou's furnishings bear a strong resemblance to those in Des Esseintes's house:In 1883, to his eternal regret, Montesquiou admitted Stéphane Mallarmé [to his home]. It was late at night when the poet was shown over the house, and the only illumination came from a few scattered candelabra; yet in the flickering light Mallarmé observed that the door-bell was in fact a sacring-bell, that one room was furnished as a monastery cell and another as the cabin of a yacht, and that the third contained a Louis Quinze pulpit, three or four cathedral stalls and a strip of altar railing. He was shown, too, a sled picturesquely placed on a snow-white bearskin, a library of rare books in suitably-coloured bindings and the remains of an unfortunate tortoise whose shell had been coated with gold paint. According to Montesquiou, writing his memoirs many years later, the sight of these marvels left Mallarmé speechless with amazement. 'He went away', records Montesquiou, 'in a state of silent exaltation.... I do not doubt, therefore, that it was in the most admiring, sympathetic, and sincere good faith that he retailed to Huysmans what he had seen during the few moments he spent in Ali Baba's Cave.'Baldick 2006, pp. 122–123.
Plot summary
The epigraph is a quotation from Jan van Ruysbroeck ('Ruysbroeck the Admirable'), the fourteenth-century Flemish mystic:I must rejoice beyond the bounds of time ... though the world may shudder at my joy, and in its coarseness know not what I mean.Il faut que je me réjouisse au-dessus du temps ... quoique le monde ait horreur de ma joie, et que sa grossièreté ne sache pas ce que je veux dire. Translated by Robert Baldick.
Jean des Esseintes is the last member of a powerful and once proud noble family. He has lived an extremely decadent life in Paris, which has left him disgusted with human society. Without telling anyone, he retreats to a house in the countryside, near Fontenay, and decides to spend the rest of his life in intellectual and aesthetic contemplation. In this sense, recalls Gustave Flaubert's Bouvard et Pécuchet (posthumously published in 1881), in which two Parisian copy-clerks decide to retire to the countryside and end up failing at various scientific and scholarly endeavors.
Huysmans' novel is essentially plotless. The protagonist fills the house with his eclectic art collection, which notably consists of reprints of the paintings of Gustave Moreau (such as Salome Dancing before Herod and L'Apparition), drawings of Odilon Redon, and engravings of Jan Luyken. Throughout his intellectual experiments, Des Esseintes recalls various debauched events and love affairs of his past in Paris. He tries his hand at inventing perfumes and he creates a garden of poisonous tropical flowers. Illustrating his preference for artifice over nature (a characteristic Decadent theme), Des Esseintes chooses real flowers that apparently imitate artificial ones. In one of the book's most surrealistic episodes, he has gemstones set in the shell of a tortoise. "[U]nable to bear the dazzling splendour imposed on it,"Against Nature, Theo Cuffe translation, p. 68. the tortoise died. In another episode, he decides to visit London after reading the novels of Charles Dickens. He dines at an English restaurant in Paris while waiting for his train and is delighted by the resemblance of the people to his notions derived from literature. He then cancels his trip and returns home, convinced that only disillusion would await him if he were to follow through with his plans.
Des Esseintes conducts a survey of French and Latin literature, rejecting the works approved by the mainstream critics of his day. He rejects the academically respectable Latin authors of the "Golden Age" such as Virgil and Cicero, preferring later "Silver Age" writers such as Petronius (Des Esseintes praises the decadent Satyricon) and Apuleius (Metamorphoses, commonly known as The Golden Ass) as well as works of early Christian literature, whose style was usually dismissed as the "barbarous" product of the Dark Ages. Among French authors, he shows nothing but contempt for the Romantics but adores the poetry of Baudelaire.
Des Esseintes cares little for classic French authors like Rabelais, Molière, Voltaire, Rousseau, and Diderot, preferring the works of Bourdaloue, Bossuet, Nicole, and Pascal. The nineteenth-century German philosopher Arthur Schopenhauer, he exclaims, 'alone was in the right' with his philosophy of pessimism, and Des Esseintes connects Schopenhauer's pessimistic outlook with the resignation of The Imitation of Christ, a fifteenth-century Christian devotional work by Thomas à Kempis.Ch. VII: "Yes, it was undoubtedly Schopenhauer who was in the right. What, in fact, were all the evangelical pharmacopoeias compared with his treatises on spiritual hygiene? He claimed no cures, offered the sick no compensation, no hope; but when all was said and done, his theory of Pessimism was the great comforter of superior minds and lofty souls; it revealed society as it was, insisted on the innate stupidity of women, pointed out the pitfalls of life, saved you from disillusionment by teaching you to expect as little as possible, to expect nothing at all if you were sufficiently strong-willed, indeed, to consider yourself lucky if you were not constantly visited by some unforeseen calamity" (Huysmans 2003, pp. 78-79).When he was 23, Schopenhauer, who significantly influenced Huysmans, told Wieland, "Life is an unpleasant business. I have resolved to spend it reflecting on it. (Das Leben ist eine mißliche Sache. Ich habe mir vorgesetzt, es damit hinzubringen, über dasselbe nachzudenken.)" (Rüdiger Safranski, Schopenhauer and the Wild Years of Philosophy, ch. 7). Des Esseintes' library includes authors of the nascent Symbolist movement, including Paul Verlaine, Tristan Corbière and Stéphane Mallarmé,In the 1903 preface, Huysmans writes that he would have included Rimbaud and Laforgue had he known their work at the time. as well as the decadent fiction of the unorthodox Catholic writers Auguste Villiers de l'Isle-Adam and Barbey d'Aurevilly. Among Catholic literature, Des Esseintes expresses attraction for the work of Ernest Hello.
Eventually, his late nights and idiosyncratic diet take their toll on his health, requiring him to return to Paris or to forfeit his life. In the last lines of the book, he compares his return to human society to that of a non-believer trying to embrace religion.
Reception and influence
Huysmans predicted his novel would be a failure with the public and critics: "It will be the biggest fiasco of the year—but I don't care a damn! It will be something nobody has ever done before, and I shall have said what I want to say ..."Conversation reported by Francis Enne in 1883, quoted by Baldick 2006, pp. 130-131. However, when it appeared in May 1884, the book created a storm of publicity. Though many critics were scandalised, it appealed to a young generation of aesthetes and writers.
Richard Ellmann describes the effect of the book in his biography of Oscar Wilde:Whistler rushed to congratulate Huysmans the next day on his 'marvellous' book. Bourget, at that time a close friend of Huysmans as of Wilde, admired it greatly; Paul Valéry called it his 'Bible and his bedside book' and this is what it became for Wilde. He said to the Morning News: 'This last book of Huysmans is one of the best I have ever seen'. It was being reviewed everywhere as the guidebook of decadence. At the very moment that Wilde was falling in with social patterns, he was confronted with a book which even in its title defied them.Ellmann 1988, p. 252.