The man who is rich and idle, and who, even if blasé, has no other occupation than the perpetual pursuit of happiness; the man who has been brought up amid luxury and has been accustomed from his earliest days to the obedience of others—he, in short, whose solitary profession is elegance, will always and at all times possess a distinct type of physiognomy, one entirely sui generis. Dandyism is a mysterious institution, no less peculiar than the duel: it is of great antiquity, Caesar, Catiline and Alcibiades providing us with dazzling examples; and very widespread, Chateaubriand having found it in the forests and by the lakes of the New World. Dandyism, an institution beyond the laws, itself has rigorous laws which all its subjects must strictly obey, whatever their natural impetuosity and independence of character. The English more than others have cultivated the society-novel, and French writers, who, like M. de Custine, have made a speciality of love-stories, have taken immediate and very proper care to endow their characters with fortunes ample enough to pay without thinking for all their extravagances; and they have gone on to dispense them of any profession. These beings have no other calling but to cultivate the idea of beauty in their persons, to satisfy their passions, to feel and to think. They thus possess a vast abundance both of time and money, without which fantasy, reduced to a state of passing reverie, can hardly be translated into action. It is sad but only too true that without the money and the leisure, love is incapable of rising above a grocer’s orgy or the accomplishment of a conjugal duty. Instead of being a passionate or poetical caprice, it becomes a repulsive utility. If I speak of love in connection with dandyism, this is because love is the natural occupation of the idle. The dandy does not, however, regard love as a special target to be aimed at.
If I have spoken of money, this is because money is indispensable to those who make a cult of their emotions; but the dandy does not aspire to money as to something essential; this crude passion he leaves to vulgar mortals; he would be perfectly content with a limitless credit at the bank. Dandyism does not even consist, as many thoughtless people seem to believe, in an immoderate taste for the toilet and material elegance. For the perfect dandy these things are no more than symbols of his aristocratic superiority of mind. Furthermore to his eyes, which are in love with distinction above all things, the perfection of his toilet will consist in absolute simplicity, which is the best way, in fact, of achieving the desired quality. What then is this passion, which, becoming doctrine, has produced such a school of tyrants? what this unofficial institution which has formed so haughty and exclusive a sect? It is first and foremost the burning need to create for oneself a personal originality, bounded only by the limits of the proprieties. It is a kind of cult of the self which can nevertheless survive the pursuit of a happiness to be found in someone else—in woman, for example; which can even survive all that goes by in the name of illusions. It is the joy of astonishing others, and the proud satisfaction of never oneself being astonished. A dandy may be blasé, he may even suffer; but in this case, he will smile like the Spartan boy under the fox’s tooth.
It can be seen how, at certain points, dandyism borders upon the spiritual and stoical. But a dandy can never be a vulgarian. If he committed a crime, it would perhaps not ruin him; but if his crime resulted from some trivial cause, his disgrace would be irreparable. Let not the reader be scandalized by this gravity amid the frivolous; let him rather recall that there is a grandeur in all follies, an energy in all excess. A weird kind of spiritualist, it must be admitted! For those who are at once its priests and its victims, all the complicated material conditions to which they submit, from an impeccable toilet at every hour of the day and the night to the most perilous feats of the sporting field, are no more than a system of gymnastics designed to fortify the will and discipline the soul. In truth I was not altogether wrong to consider dandyism as a kind of religion. The strictest monastic rule, the inexorable order of the Assassins according to which the penalty for drunkenness was enforced suicide, were no more despotic, and no more obeyed, than this doctrine of elegance and originality, which also imposes upon its humble and ambitious disciples—men often full of fire, passion, courage and restrained energy—the terrible formula: Perinde ac cadaver!
Whether these men are nicknamed exquisites, incroyables, beaux, lions or dandies, they all spring from the same womb; they all partake of the same characteristic quality of opposition and revolt; they are all representatives of what is finest in human pride, of that compelling need, alas only too rare today, of combating and destroying triviality. It is from this that the dandies obtain that haughty exclusiveness, provocative in its very coldness. Dandyism appears above all in periods of transition, when democracy is not yet all-powerful, and aristocracy is only just beginning to totter and fall. In the disorder of these times, certain men who are socially, politically and financially ill at ease, but are all rich in native energy, may conceive the idea of establishing a new kind of aristocracy, all the more difficult to shatter as it will be based on the most precious, the most enduring faculties, and on the divine gifts which work and money are unable to bestow. Dandyism is the last spark of heroism amid decadence; and the type of dandy discovered by our traveller in North America does nothing to invalidate this idea; for how can we be sure that those tribes which we call ‘savage’ may not in fact be the dissect membra of great extinct civilizations? Dandyism is a sunset; like the declining daystar, it is glorious, without heat and full of melancholy. But alas, the rising tide of democracy, which invades and levels everything, is daily overwhelming these last representatives of human pride and pouring floods of oblivion upon the footprints of these stupendous warriors. Dandies are becoming rarer and rarer in our country, whereas amongst out neighbors in England the social system and the constitution (the true constitution, I mean: the constitution which expresses itself through behavior) will for a long time yet allow a place for the descendants of Sheridan, Brummel and Byron, granted at least that men are born who are worthy of such a heritage.
What to the reader may have seemed a digression is not to in truth. The moral reflections and considerations provoked by an artist’s drawings are in many cases the best translation of them that criticism can make; such suggestions form part of an underlying idea which begins to emerge as they are set out one after the other. It is hardly necessary to say that when Monsieur G. sketches one of his dandies on the paper, he never fails to give him his historical personality—his legendary personality, I would venture to say, if we were not speaking of the present time and of things generally considered as frivolous. Nothing is missed: his lightness of step, his social aplomb, the simplicity in his air of authority, his way of wearing a coat or riding a horse, his bodily attitudes which are always relaxed but heresy an inner energy, to that when your eye lights upon one of those privileged beings in whom the graceful and the formidable are to mysteriously blended, you think: `A rich man perhaps, but more likely an out-of-work Hercules!’ The distinguishing characteristic of the dandy’s beauty consists above all in an air of coldness which comes from an unshakeable determination not tube moved; you might call it a latent fire which hints at itself, and which could, but chooses not to burst into flame. It is this quality which these pictures express to perfectly.
Reed Enger, "The Dandy," in Obelisk Art History, Published August 27, 2017; last modified August 27, 2017, http://arthistoryproject.com/timeline/industrial-revolution/impressionism/the-painter-of-modern-life/the-dandy/.