THE POSE OF INTENSITY AND THE CULT OF AESTHETIC RESPONSE IN THE 1880s AND 1890s

When Oscar Wilde first rediscovered and began to write in Pen, Pencil and Poison' of the life and opinions of the Regency painter, belletrist, convicted forger and 'subtle and secret poisoner almost without rival', Thomas Griffiths Wainewright, he found revealed in the character of this artistic and intellectual dandy not only an aspect of his own nature and genius, but also, perhaps, the key to an essential quality of the Aesthetic and Decadent sensibility as it developed in England in the 1880s and 90s. That quality we might define as a Dandyism of the Senses - a self-consciously precious and highly fastidious discrimination brought to bear on both art and life. The dandy-aesthetes of the fin-de-siècle period above all honed their senses and cultivated the rarest of sensibilities; they made the perfection of the pose of exquisiteness their greatest aim and they directed all their languid energies towards nurturing a cult of aesthetic response that begins beyond ordinary notions of taste, that lies beyond mere considerations of fashion, and operates quite outside the dictates of all conventional canons of morality.

Wilde was perhaps the first to perceive that this very specific sensibility had been intriguingly foreshadowed by the ideas and opinions enshrined in Wainewright's precociously brilliant art-journalism of the early years of the nineteenth century; in particular in those essays in which the mercurial dandy-critic first adumbrated his own idiosyncratic version of a pose of exquisite sensibility and the notion of a cult of aesthetic response.