The variety of the Decadent image in Wilde, Symons, and Dowson, the Coda suggests, induces responses from twentieth-century Modern and Modernist poetry. The Imagist movement and its attention to form share much with Aesthetic form as well as with Decadent motifs. Symons’s city poetry is a crucial formative influence on T. S. Eliot’s early poetry. In the concluding section Eliot, Yeats, and Ezra Pound question the boundaries between art and life as much as they reconsider Victorian Aestheticism and Decadence: artificiality is eventually elegised, recast and re-aestheticised under a new mode of expression.
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