In march of 1890, after a preparatory experience with Madame Blavatsky's Theosophical Society, W. B. Yeats joined the Hermetic Students of the Golden Dawn. Like Joris-Karl Huysmans, who at about this time became interested in the activities of the French counterpart of the Golden Dawn, “Le Grand Ordre Kabbalistique du Rose Croix,” Yeats's interests were largely aroused by the willingness of the members of the group to experiment with magical practices. Where Yeats, however, committed himself by oaths and rituals to a cult which pretended to be the guardian of ancient insights into the super-sensory life, Huysmans stood apart, first skeptical, then fascinated, and finally outraged. The eccentric MacGregor Mathers headed the London Rosicrucians, and he and his French wife, the sister of Henri Bergson, were acquainted with all the principal figures involved with the slightly older French order. The latter had been founded in 1888 by Sâr Joséphin Péladan and the self-styled nobleman Stanislas de Guaita. The French group existed on the shady fringe of clerical politics in the hostile rationalism of the early Third Republic, and it was in search of documentary material for a novel about this fantastic circle of clerical Royalists that Huysmans was first drawn to them. Like Saul who only sought lost asses, this quest led him, as he came to believe, to God's grace.Before he became a Catholic Huysmans was, in effect, something of a Manichean. As Yeats did, he sought experimental evidence to confirm the existence of opposing forces of good and evil, and when he had this evidence he rejected forcefully the Devil through whom he had found God. Yeats was more equivocal. The inversion of values in Huysmans' A rebours, and of ritual in his Là-bas never confounded or reconciled the opposition of good and evil and of false and true worship, as Yeats tried to do in his Rosicrucian stories of 1896. But then Huysmans was never so deeply involved as Yeats in constructing out of the farrago of late nineteenth-century occult beliefs a systematic basis for his life. The Rosicrucian Golden Dawn did provide the beginnings for such a systematic basis, and in his three stories of 1896, “The Tables of the Law,” “Rosa Alchemica,” and “The Adoration of the Magi,” Yeats draws on the beliefs and rituals of his cult. It seems to me that there are elements in the first two of these Rosicrucian stories which have curious affinities to the writings of Huysmans, and these become significant in the context of other relations between the two writers.
Can evil create?