1. Linda Dowling, Hellenism and Homosexuality in Victorian Oxford (Ithaca: Cornell University Press, 1994), 119.
2. Jackson notes that the Celtic Revival of the 1890s attempted to combine art with life and was “actually a social movement with a Socialistic tendency.” Holbrook Jackson, The Eighteen Nineties: A Review of Art and Ideas at the Close of the Nineteenth Century (1913; Harmondsworth, Middlesex: Penguin, 1950), 41.
3. “The faith that others give to what is unseen, I give to what one can touch, and look at.” Oscar Wilde, “De Profundis,” in The Soul of Man and Prison Writings, ed. Isobel Murray (New York: Oxford University Press, 1999), 98.
4. E.g., Lee Edelman, “Homographesis,” Yale Journal of Criticism 3, no. 1 (1989): 189–207; and Richard Dellamora, Masculine Desire: The Sexual Politics of Victorian Aestheticism (Chapel Hill: University of North Carolina Press, 1990).
5. In a recent essay on Schlegel and German romanticism, Nicholas Brown argues that “romanticism is …the very ground of post-Romantic thought, even as its later mutations—Modernism and Postmodernism—continue to define themselves against it.” Nicholas Brown, “The Eidaesthetic Itinerary: Notes on the Geopolitical Movement of the Literary Absolute,” South Atlantic Quarterly 100, no. 3 (Summer 2001): 834.
6. Clyde de L. Ryals, A World of Possibilities: Romantic Irony in Victorian Lit erature (Columbus: Ohio State University Press, 1990), 4.
7. Isobel Murray, introduction to Oscar Wilde, ed. Isobel Murray (New York: Oxford University Press, 1989), xi.