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The 1884 novel *À rebours* is also known by the English translations *Against Nature* or *Against the Grain*.
Answer: True
Explanation: The novel's original French title, *À rebours*, is commonly translated into English as *Against Nature* or *Against the Grain*.
Joris-Karl Huysmans published *À rebours* in December 1884.
Answer: False
Explanation: Joris-Karl Huysmans' novel *À rebours* was published in May 1884, not December.
*À rebours* is primarily classified as a work of Naturalist literature.
Answer: False
Explanation: *À rebours* is primarily classified as Decadent literature, marking a significant departure from Naturalism.
The original title of *À rebours* was *Against the Grain*.
Answer: False
Explanation: The original title of the novel was *Seul*, meaning 'Alone'; *Against the Grain* is one of its common English translations.
The epigraph in *À rebours* is a quotation from a 19th-century French philosopher.
Answer: False
Explanation: The epigraph in *À rebours* is a quotation from Jan van Ruysbroeck, a 14th-century Flemish mystic, not a 19th-century French philosopher.
*À rebours* shares a thematic similarity with Gustave Flaubert's *Bouvard et Pécuchet*, as both feature protagonists who retire to the countryside.
Answer: True
Explanation: *À rebours* and Flaubert's *Bouvard et Pécuchet* share the thematic element of protagonists retiring to the countryside, though their purposes and outcomes differ.
The frontispiece of the first edition of *À rebours* depicts only the author, Joris-Karl Huysmans.
Answer: False
Explanation: The frontispiece of the first edition of *À rebours* depicts several figures, including Émile Zola and Guy de Maupassant, not solely the author Joris-Karl Huysmans.
Which of the following is the primary subject of Joris-Karl Huysmans' 1884 novel *À rebours*?
Answer: The eccentric, reclusive, and ailing aesthete, Jean des Esseintes.
Explanation: The novel *À rebours* primarily focuses on the eccentric, reclusive, and ailing aesthete, Jean des Esseintes.
When was *À rebours* published by Charpentier in France?
Answer: May 1884
Explanation: *À rebours* was published by Charpentier in France in May 1884.
What literary genre is *À rebours* primarily classified under?
Answer: Decadent literature
Explanation: *À rebours* is primarily classified as Decadent literature, a style characterized by aestheticism and a sense of moral decline.
What was the original title of the novel *À rebours*?
Answer: *Seul*
Explanation: The novel was originally entitled *Seul*, meaning 'Alone,' before it became *À rebours*.
The epigraph in *À rebours* is a quotation from which figure?
Answer: A 14th-century Flemish mystic.
Explanation: The epigraph in *À rebours* is a quotation from Jan van Ruysbroeck, a 14th-century Flemish mystic.
Who can be discerned among other figures on the frontispiece of the first edition of *À rebours*?
Answer: Émile Zola and Guy de Maupassant.
Explanation: The frontispiece of the first edition of *À rebours* depicts figures such as Émile Zola and Guy de Maupassant among others.
Huysmans intended *À rebours* to portray a man seeking refuge in extravagant fantasy, isolated from his contemporary century.
Answer: True
Explanation: In his 1903 preface, Huysmans explicitly stated his intention to portray a man seeking refuge in extravagant fantasy, living alone and far from his century.
*À rebours* represented a continuation of Huysmans' earlier Naturalist style, focusing on working-class life in Paris.
Answer: False
Explanation: *À rebours* marked a significant departure from Huysmans' earlier Naturalist style, which focused on working-class life, as he viewed Naturalism as creatively stagnant.
By the early 1880s, Huysmans believed Naturalism was a 'dead end' due to its repetitive themes and inability to create diverse characters.
Answer: True
Explanation: By the early 1880s, Huysmans indeed considered Naturalism a 'dead end' due to its repetitive themes and limitations in character development.
For *À rebours*, Huysmans abandoned all elements of Naturalism, including its use of realistic detail.
Answer: False
Explanation: While Huysmans departed from Naturalism's focus on common existence, he retained its characteristic use of minutely documented realistic detail in *À rebours*.
Huysmans described his new writing style for *À rebours* as a 'wild and gloomy fantasy' to Émile Zola.
Answer: True
Explanation: Huysmans indeed informed Émile Zola in a letter that he was embarking on a 'wild and gloomy fantasy' for his new novel, *À rebours*.
*À rebours* caused Huysmans to strengthen his ties with the Naturalist movement.
Answer: False
Explanation: On the contrary, *À rebours* caused Huysmans to slowly drift away from the Naturalist movement, as he sought new literary directions.
How did *À rebours* relate to the Naturalist literary movement?
Answer: It marked a significant departure from the Naturalist movement.
Explanation: *À rebours* marked a significant departure from the Naturalist literary movement, incorporating themes associated with the Symbolist aesthetic.
According to his 1903 preface, what was Joris-Karl Huysmans' intention for *À rebours*?
Answer: To depict a man seeking refuge in extravagant fantasy, far from his century.
Explanation: In his 1903 preface, Huysmans stated his intention for *À rebours* was to portray a man seeking refuge in extravagant fantasy, living alone and far from his contemporary century.
What shift did *À rebours* represent in Huysmans' literary career?
Answer: A move away from Naturalism, which he viewed as stagnant.
Explanation: *À rebours* represented a significant move away from Naturalism in Huysmans' literary career, as he had come to view that style as creatively stagnant.
What was Huysmans' critique of Naturalism by the early 1880s?
Answer: He felt it had become a 'dead end' with repetitive themes.
Explanation: By the early 1880s, Huysmans felt Naturalism had become a 'dead end' due to its repetitive themes and inability to create diverse characters beyond the average person.
What element of Naturalism did Huysmans retain in *À rebours*?
Answer: Its characteristic use of minutely documented realistic detail.
Explanation: Huysmans retained Naturalism's characteristic use of minutely documented realistic detail in *À rebours*, applying it to an exceptional individual rather than common existence.
To whom did Huysmans describe his new writing style for *À rebours* as a 'wild and gloomy fantasy'?
Answer: Émile Zola
Explanation: Huysmans described his new writing style for *À rebours* as a 'wild and gloomy fantasy' to his former mentor, Émile Zola.
How did *À rebours* affect Huysmans' relationships with other writers?
Answer: It caused him to drift away from Naturalists but forge new friendships with Symbolist and Catholic writers.
Explanation: *À rebours* caused Huysmans to drift away from the Naturalists but allowed him to forge new friendships with Symbolist and Catholic writers whose work he had praised.
Jean des Esseintes, the central character of *À rebours*, is depicted as an outgoing socialite who embraces 19th-century bourgeois society.
Answer: False
Explanation: Jean des Esseintes is depicted as an eccentric, reclusive, and ailing aesthete who despises 19th-century bourgeois society, not an outgoing socialite.
Jean des Esseintes was solely based on Joris-Karl Huysmans himself, with no other real-life inspirations.
Answer: False
Explanation: While partly based on Huysmans, the character of Jean des Esseintes also drew inspiration from several other real-life figures, most notably Robert de Montesquiou.
Robert de Montesquiou's home featured a sacring-bell as a doorbell and rooms furnished as a monastery cell, influencing Des Esseintes's house.
Answer: True
Explanation: Robert de Montesquiou's actual home, with its unique features like a sacring-bell doorbell and monastery-cell rooms, strongly influenced the description of Des Esseintes's eccentric dwelling.
Stéphane Mallarmé was reportedly 'speechless with amazement' after visiting Robert de Montesquiou's home in 1883.
Answer: True
Explanation: Stéphane Mallarmé was indeed reportedly 'speechless with amazement' after his visit to Robert de Montesquiou's home in 1883, which later served as an inspiration for Des Esseintes's house.
Jean des Esseintes retreats to a house in Paris to dedicate his life to social engagement.
Answer: False
Explanation: Jean des Esseintes retreats to a secluded house in the countryside near Fontenay, not Paris, to dedicate his life to intellectual and aesthetic contemplation, isolating himself from society.
Des Esseintes willingly chooses to abandon his reclusive lifestyle to re-engage with Parisian society.
Answer: False
Explanation: Des Esseintes is forced to abandon his reclusive lifestyle and return to Paris due to severe health deterioration, not a willing choice to re-engage with society.
What is a defining characteristic of Jean des Esseintes, the central character of *À rebours*?
Answer: He is an eccentric, reclusive, and ailing aesthete.
Explanation: Jean des Esseintes is defined as an eccentric, reclusive, and ailing aesthete who despises 19th-century bourgeois society.
Which real-life individual was most notably an inspiration for the character of Jean des Esseintes?
Answer: Robert de Montesquiou
Explanation: The aristocratic aesthete Robert de Montesquiou was most notably a real-life inspiration for the character of Jean des Esseintes.
What unique feature was present in Robert de Montesquiou's home that influenced Des Esseintes's house?
Answer: A sacring-bell as a doorbell.
Explanation: Robert de Montesquiou's home featured a sacring-bell as a doorbell and rooms furnished as a monastery cell, among other unique elements, which influenced the depiction of Des Esseintes's house.
What was Stéphane Mallarmé's reaction after visiting Robert de Montesquiou's home in 1883?
Answer: He was reportedly 'speechless with amazement'.
Explanation: Stéphane Mallarmé was reportedly 'speechless with amazement' after visiting Robert de Montesquiou's home in 1883, impressed by its unique marvels.
Where does Jean des Esseintes retreat to after becoming disgusted with human society?
Answer: A house in the countryside near Fontenay.
Explanation: Disgusted with human society, Jean des Esseintes retreats to a secluded house in the countryside near Fontenay.
What ultimately forces Des Esseintes to abandon his reclusive lifestyle and return to Paris?
Answer: The severe deterioration of his health.
Explanation: The severe deterioration of Des Esseintes's health, caused by his unconventional lifestyle, ultimately forces him to abandon his reclusive retreat and return to Paris.
The narrative of *À rebours* mainly focuses on Des Esseintes's aesthetic tastes, reflections on arts, and heightened sensory experiences.
Answer: True
Explanation: The narrative of *À rebours* primarily serves as a detailed catalog of Des Esseintes's aesthetic tastes, reflections on various arts, and his experiences of hyperesthesia.
Des Esseintes's art collection includes original paintings by Gustave Moreau and sculptures by Auguste Rodin.
Answer: False
Explanation: Des Esseintes's art collection includes reprints of paintings by Gustave Moreau, but not original paintings or sculptures by Auguste Rodin.
Des Esseintes cultivates a garden of common, natural flowers to enhance his secluded home.
Answer: False
Explanation: Des Esseintes cultivates a garden of poisonous tropical flowers, preferring artifice over nature, which is contrary to common, natural flowers.
The tortoise episode in *À rebours* involves Des Esseintes adorning a tortoise with gemstones, which ultimately leads to its death.
Answer: True
Explanation: The surrealistic tortoise episode in *À rebours* indeed depicts Des Esseintes adorning a tortoise with gemstones, leading to its death from the 'dazzling splendour'.
Des Esseintes successfully completes his planned trip to London after being inspired by Charles Dickens's novels.
Answer: False
Explanation: Des Esseintes cancels his planned trip to London, despite being inspired by Dickens, because he fears that the reality would lead to disillusionment after his idealized Parisian experience.
Des Esseintes's literary taste aligns with mainstream critical opinion, favoring 'Golden Age' Latin authors like Virgil.
Answer: False
Explanation: Des Esseintes deliberately rejects mainstream critical opinion, preferring 'Silver Age' Latin authors and early Christian literature over 'Golden Age' classics like Virgil.
Des Esseintes admires the poetry of Baudelaire but holds contempt for the French Romantics.
Answer: True
Explanation: Des Esseintes indeed admires Baudelaire's poetry while expressing contempt for the French Romantics.
Des Esseintes connects Arthur Schopenhauer's philosophy of pessimism with the resignation found in *The Imitation of Christ*.
Answer: True
Explanation: Des Esseintes connects Schopenhauer's philosophy of pessimism with the resignation found in *The Imitation of Christ*, finding a shared outlook in their respective worldviews.
Des Esseintes's library includes works by Naturalist writers like Émile Zola.
Answer: False
Explanation: Des Esseintes's literary preferences lean towards 'Silver Age' Latin authors, early Christian literature, and Symbolist and unorthodox Catholic writers, explicitly rejecting mainstream tastes that would include Naturalists like Émile Zola.
Which of the following best describes the main focus of the narrative in *À rebours*?
Answer: A detailed catalog of Des Esseintes's aesthetic tastes and sensory experiences.
Explanation: The narrative of *À rebours* primarily serves as a detailed catalog of Des Esseintes's aesthetic tastes, his reflections on arts, and his heightened sensory experiences.
Which of the following artists' reprints of paintings are notably included in Des Esseintes's art collection?
Answer: Gustave Moreau
Explanation: Des Esseintes's eclectic art collection notably includes reprints of paintings by Gustave Moreau.
What kind of garden does Des Esseintes cultivate in his secluded home?
Answer: A garden of poisonous tropical flowers.
Explanation: Des Esseintes cultivates a garden of poisonous tropical flowers, reflecting his preference for artifice over nature.
What was the outcome of Des Esseintes's experiment with setting gemstones into a tortoise's shell?
Answer: The tortoise tragically died, unable to bear the splendor.
Explanation: Des Esseintes's experiment with adorning a tortoise with gemstones tragically resulted in the tortoise's death, as it was 'unable to bear the dazzling splendour'.
Why did Des Esseintes cancel his planned trip to London?
Answer: He was so delighted by people resembling his literary notions in Paris that he feared disillusionment.
Explanation: Des Esseintes canceled his London trip because he was so delighted by people resembling his literary notions in Paris that he feared actual travel would lead to disillusionment.
Which type of Latin authors does Des Esseintes prefer, challenging mainstream critical opinion?
Answer: 'Silver Age' writers such as Petronius and Apuleius.
Explanation: Des Esseintes challenges mainstream critical opinion by preferring 'Silver Age' Latin authors such as Petronius and Apuleius, as well as early Christian literature, over 'Golden Age' classics.
Which French author's poetry does Des Esseintes adore, despite his contempt for the Romantics?
Answer: Charles Baudelaire
Explanation: Despite his contempt for the French Romantics, Des Esseintes adores the poetry of Charles Baudelaire.
What philosophical outlook does Des Esseintes connect with *The Imitation of Christ*?
Answer: The philosophy of pessimism espoused by Arthur Schopenhauer.
Explanation: Des Esseintes connects the philosophy of pessimism espoused by Arthur Schopenhauer with the resignation found in *The Imitation of Christ*.
Which of the following Symbolist writers is featured in Des Esseintes's library?
Answer: Paul Verlaine
Explanation: Des Esseintes's library features works by Symbolist writers such as Paul Verlaine, Tristan Corbière, and Stéphane Mallarmé.
Huysmans initially predicted that *À rebours* would be a major critical and public success.
Answer: False
Explanation: Huysmans initially predicted that *À rebours* would be a significant failure with both the public and critics, stating he didn't 'care a damn'.
Contrary to Huysmans' prediction, *À rebours* generated considerable publicity and appealed to a younger generation of aesthetes.
Answer: True
Explanation: Despite Huysmans' prediction of failure, *À rebours* did generate considerable publicity and found strong appeal among a younger generation of aesthetes and writers.
Richard Ellmann noted that Paul Valéry referred to *À rebours* as his 'Bible and his bedside book'.
Answer: True
Explanation: Richard Ellmann documented that Paul Valéry indeed referred to *À rebours* as his 'Bible and his bedside book,' highlighting its profound impact on him.
*À rebours* is widely believed to be the 'poisonous French novel' in Oscar Wilde's *The Picture of Dorian Gray*.
Answer: True
Explanation: It is widely accepted that *À rebours* is the 'poisonous French novel' that influences Dorian Gray in Oscar Wilde's novel, leading him to an amoral life.
Oscar Wilde denied any connection between *À rebours* and the novel in *The Picture of Dorian Gray* at his trial.
Answer: False
Explanation: At his trial, Oscar Wilde conceded that the book in *The Picture of Dorian Gray* was 'or almost' Huysmans's *À rebours*, rather than denying the connection.
Robert Baldick claimed that George Moore's *A Mere Accident* and *Mike Fletcher* were inspired by Huysmans' novel.
Answer: True
Explanation: Robert Baldick indeed claimed that George Moore's *A Mere Accident* and *Mike Fletcher*, among other works, were inspired by Huysmans' novel.
*À rebours* was used as an exhibit in the trials of Oscar Wilde in 1895.
Answer: True
Explanation: *À rebours* gained notoriety as an exhibit during the trials of Oscar Wilde in 1895, where it was controversially referred to as a 'sodomitical' book.
Émile Zola praised *À rebours* as a groundbreaking work that advanced the Naturalist school of fiction.
Answer: False
Explanation: Émile Zola, Huysmans's former mentor, gave *À rebours* a lukewarm reception, considering it a 'terrible blow to Naturalism' rather than an advancement.
Stéphane Mallarmé wrote a poetic tribute to *À rebours* titled 'Prose pour Des Esseintes'.
Answer: True
Explanation: Stéphane Mallarmé indeed wrote a poetic tribute titled 'Prose pour Des Esseintes' in response to Huysmans' novel.
Léon Bloy described Huysmans as remaining a Naturalist after *À rebours*.
Answer: False
Explanation: Léon Bloy described Huysmans as 'formerly a Naturalist, but now an Idealist capable of the most exalted mysticism' after *À rebours*, indicating a clear departure from Naturalism.
Barbey d'Aurevilly predicted Huysmans' conversion to Catholicism after reading *À rebours*.
Answer: True
Explanation: Barbey d'Aurevilly famously predicted Huysmans' eventual conversion to Catholicism after reading *À rebours*, suggesting he would choose 'the foot of the Cross'.
The first English translation of *À rebours*, titled *Against the Grain*, was published in 1932.
Answer: False
Explanation: The first English translation of *À rebours*, titled *Against the Grain*, was published in 1922, not 1932.
The Project Gutenberg ebook version of *Against the Grain* includes a chapter where Des Esseintes encourages a young man to commit a crime.
Answer: False
Explanation: The Project Gutenberg ebook version of *Against the Grain* notably omits an entire chapter where Des Esseintes attempts to encourage a young man to embark on a life of crime, as well as a passage describing implied homosexuality.
Arthur Zaidenberg's illustration for the 1931 edition of *Against the Grain* depicts Des Esseintes in his study.
Answer: True
Explanation: Arthur Zaidenberg's illustration for the 1931 edition of *Against the Grain* indeed visually represents Des Esseintes in his study, capturing his secluded and intellectual environment.
How did Huysmans initially expect *À rebours* to be received by the public and critics?
Answer: As a significant failure.
Explanation: Huysmans initially predicted that *À rebours* would be a significant failure with both the public and critics.
According to Richard Ellmann, which prominent literary figure referred to *À rebours* as his 'Bible and his bedside book'?
Answer: Paul Valéry
Explanation: Richard Ellmann noted that Paul Valéry referred to *À rebours* as his 'Bible and his bedside book,' among other literary figures who admired it.
What is the widely held belief regarding *À rebours* and Oscar Wilde's *The Picture of Dorian Gray*?
Answer: It is the 'poisonous French novel' that influences Dorian Gray.
Explanation: It is widely believed that *À rebours* is the 'poisonous French novel' that profoundly influences Dorian Gray in Oscar Wilde's novel.
How is the influential French novel described in Chapter 10 of *The Picture of Dorian Gray*?
Answer: A 'novel without a plot, and with only one character'.
Explanation: In *The Picture of Dorian Gray*, the influential French novel is described as 'a novel without a plot, and with only one character,' and a 'psychological study of a certain young Parisian'.
What was Oscar Wilde's stance at his trial regarding *À rebours* as the inspiration for the novel in *The Picture of Dorian Gray*?
Answer: He stated it was 'or almost' Huysmans's *À rebours*.
Explanation: At his trial, Oscar Wilde conceded that the book in *The Picture of Dorian Gray* was 'or almost' Huysmans's *À rebours*.
According to Robert Baldick, which of the following works was inspired by Huysmans' novel?
Answer: George Moore's *A Mere Accident*
Explanation: According to Robert Baldick, George Moore's *A Mere Accident* and *Mike Fletcher*, among other works, were clearly inspired by Huysmans' novel.
What role did *À rebours* play in the trials of Oscar Wilde in 1895?
Answer: It was used as an exhibit by the prosecution.
Explanation: *À rebours* was used as an exhibit by the prosecution during the trials of Oscar Wilde in 1895, where it was controversially labeled 'sodomitical'.
How is *À rebours* viewed in the context of gay literature today?
Answer: It is seen as an important step in its formation and development.
Explanation: Today, *À rebours* is considered by some scholars to be an important step in the formation and development of gay literature due to its exploration of transgressive themes.
What was Émile Zola's reaction to *À rebours*?
Answer: He gave it a lukewarm reception and considered it a 'terrible blow to Naturalism'.
Explanation: Émile Zola, Huysmans's former mentor, gave *À rebours* a lukewarm reception, considering it a 'terrible blow to Naturalism' and accusing Huysmans of 'leading the school astray'.
What was the title of Stéphane Mallarmé's poetic tribute to *À rebours*?
Answer: *Prose pour Des Esseintes*
Explanation: Stéphane Mallarmé's poetic tribute to *À rebours* was titled 'Prose pour Des Esseintes'.
How did Léon Bloy describe Huysmans after reading *À rebours*?
Answer: As 'formerly a Naturalist, but now an Idealist capable of the most exalted mysticism'.
Explanation: Léon Bloy described Huysmans as 'formerly a Naturalist, but now an Idealist capable of the most exalted mysticism' after reading *À rebours*.
What prediction did Barbey d'Aurevilly make about Huysmans after reading *À rebours*?
Answer: That he would choose between 'the muzzle of the pistol and the foot of the Cross'.
Explanation: Barbey d'Aurevilly famously predicted that Huysmans, after writing *À rebours*, would have to choose between 'the muzzle of the pistol and the foot of the Cross,' foreshadowing his conversion to Catholicism.
When was the first English translation of *À rebours*, titled *Against the Grain*, published?
Answer: 1922
Explanation: The first English translation of *À rebours*, titled *Against the Grain*, was published in 1922.
What content is notably omitted from the Project Gutenberg ebook version of *Against the Grain*?
Answer: A chapter encouraging a young man to embark on a life of crime and a passage describing implied homosexuality.
Explanation: The Project Gutenberg ebook version of *Against the Grain* notably omits a chapter where Des Esseintes attempts to encourage a young man to embark on a life of crime and a passage describing implied homosexuality.