Innocent Decadence: The Poetry of the Savoy
The simultaneous flowering of decadent verse and ephemeral little magazines upon the English literary scene of the 1890's is remarked as of central interest in the literary histories of the period. The two phenomena were closely related, for the poets of the English decadent “movement” and the editors of the new periodicals were for the most part members of the same extensive London coterie. The members of the Rhymers' Club were closely identified with the clusters of writers gathered around the Yellow Book, the Dome, and the Savoy; and with few exceptions the production of the group as a whole has come to be regarded as exhibiting certain morbidly exotic traits which gave the predominantly “decadent” flavor to the period. Of the many little magazines which served as admirable show-cases for this decadent poetry, none is more often cited as embodying the spirit of the age than the Savoy. Edited by Arthur Symons, illustrated largely by Aubrey Beardsley, and repeatedly presenting the work of Ernest Dowson, the periodical seemed, during its single year of existence—1896—to speak for all the arch-decadents except the already disgraced Wilde. Bernard Muddiman's description of the Savoy as “the fine flower of the publications of the age” sums up the achievement of its eight numbers; his references to it as providing the pages upon which “the abnormal, the bizarre, found their true home” sums up its reputation. Yet the reader who turns to the Savoy expecting to find a luscious garden of exotic and forbidden poetry will be largely disappointed, for its verse has less of extravagance and perversity than is ordinarily implied by the description of literature as “decadent.” There is a real danger of misinterpreting the poetry of the decade whenever it is approached along the beaten paths of ruling preconceptions about the “decadent spirit” of the 1890's. The examination of the representative sample of verse provided by the Savoy illustrates the desirability of revaluating that spirit.