Abstract
In the closing decades of the nineteenth century the Channel gained a new lease of life as a significant and emphasised phenomenon in cultural geography. Relations between the literatures of Britain and France grew stronger in these years, and were fostered by a good deal of travel back and forth. British writers set off for the salons of Paris, and their French counterparts proceeded to London. In the case of the British visitors to France, the motivation was often artistic: France was held to be closer to the centre of inspiration, especially in the visual arts, than anywhere in Britain. In the case of French writers visiting Britain, the motivation was often more practical, but still a matter of culture.
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Notes
Dee Reynolds, Symbolist Aesthetics and Early Abstract Art: Sites of Imaginary Space (Cambridge: Cambridge University Press, 1995), for Mallarme’s conception of poetry as ‘"music" in its purest form’ (p. 89).
Rene Peter, Claude Debussy: vues prises de son intimite (Paris: Gallimard, 1944), pp. 112–25.
Paul Theroux, The Kingdom by the Sea: A Journey around the Coast of Great Britain (1983; Harmondsworth: Penguin, 1984), p. 47.
Julian Barnes, Flaubert’s Parrot (London: Cape, 1984), pp. 41–2.
Mark Longaker, Ernest Dowson, 3rd edn (Philadelphia: University of Pennsylvania Press, 1967), p. 291.
Christophe Campos, The View of France: From Arnold to Bloomsbury (London: Oxford University Press, 1965), p. 186.
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© 2002 Dominic Rainsford
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Rainsford, D. (2002). Les Fleurs du mal de mer. In: Literature, Identity and the English Channel. Palgrave Macmillan, London. https://doi.org/10.1057/9781403919281_4
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DOI: https://doi.org/10.1057/9781403919281_4
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-41626-4
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