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Xxiii). Pater begins the first essay in his volume by reinforcing his sense of France's primary role in the Renaissance and writes, 'The history of the Renaissance ends in France and carries us away from Italy to the beautiful cities of the country of the Loire. But it was in France also, in a very important sense, that the Renaissance had begun' (p. 1). One additional element of French theory Pater incorporated into The Renaissance is in its Conclusion, where, following his famous phrase 'to burn always with this hard, gemlike flame, to maintain this ecstasy, is success in life', he counsels his readers that the wisest of 'the children of this world' will spend their time in art and song and that, 'of such wisdom, the poetic passion, the desire of beauty, the love of art for its own sake, has most' (p.

Homosexuality was not a cause; it was a way of affronting complacency. In three works, between 1889 and 1892, Wilde therefore outraged heterosexual smugness. The first was The Portrait of Mr W. , which played with the idea that Shakespeare was a homosexual, and that he wrote the sonnets 24 Studies in Anglo-French Cultural Relations to his 'dearmylove', Mr W. H. He does not actually endorse the view, but he disseminates it. Wilde had begun his perilous campaign to bring this forbidden theme into literature by reconstructing the image of Shakespeare himself.

Symons' poetry shares with that of his fellow Rhymers French leanings; his editorship of the Savoy and the Yellow Book was carried out in the spirit and letter of art for art's sake. Symons is, despite those achievements, best remembered for his own famous volume, one that reflects Pater's concerns in The Renaissance, mirrors its Conclusion and echoes Pater's phrases and ideas in most of its pages: The Symbolist Movement in Literature (1899). In that volume he introduced to a broad readership those works of French writers which he and his circle most admired and followed.

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