Il souffre peut-être ...
Et s’il veut savoir pourquoi
La salle est déserte?
Montrez lui la lampe éteinte
Et la porte ouverte ...[[79]]
(“Pan,” 1895, No. 2.)
Who went out? Who came in? Who is speaking? Who died?
I beg the reader to be at the pains of reading through the samples I cite in [Appendix II.] of the celebrated and esteemed young poets—Griffin, Verhaeren, Moréas, and Montesquiou. It is important to do so in order to form a clear conception of the present position of art, and not to suppose, as many do, that Decadentism is an accidental and transitory phenomenon. To avoid the reproach of having selected the worst verses, I have copied out of each volume the poem which happened to stand on page [28].
All the other productions of these poets are equally unintelligible, or can only be understood with great difficulty, and then not fully. All the productions of those hundreds of poets, of whom I have named a few, are the same in kind. And among the Germans, Swedes, Norwegians, Italians, and us Russians, similar verses are printed. And such productions are printed and made up into book form, if not by the million, then by the hundred thousand (some of these works sell in tens of thousands). For type-setting, paging, printing, and binding these books, millions and millions of working days are spent—not less, I think, than went to build the great pyramid. And this is not all. The same is going on in all the other arts: millions and millions of working days are being spent on the production of equally incomprehensible works in painting, in music, and in the drama.
Painting not only does not lag behind poetry in this matter, but rather outstrips it. Here is an extract from the diary of an amateur of art, written when visiting the Paris exhibitions in 1894:—