The literature of the late nineteenth century shows unmistakable symptoms of decadence. What is decaying is a literary tradition which dates back to the Renaissance, when its basic genres, its conventions for representing the world and giving a valid picture of human experience, were laid down anew. The tradition was largely founded on a belief that the artistic imagination truly mirrors nature, and this belief persisted through all later changes in theme and expression. The great distinction between realism and romanticism, which accounts for most of the major variations in the literature of the earlier nineteenth century, still did not break the tradition. It rather enriched it with a subtler sense of the difference between the world as mirrored in poetry and the world as mirrored in prose, and indicated a fuller awareness of the interesting role played by specifically subjective adventures in thought and feeling. Confidence in the power of art to reflect the true sense and shape of these richer possibilities remained unshaken. Towards the end of the century, however, the reliability, indeed the responsibility, of the imagination in discovering the way things ‘really’ are and in knowing what they mean began to be seriously questioned. It seemed possible to write about anything in almost any way, to enjoy literally almost any number of views, but this gain in literary scope and freedom was accompanied by a loss of creative certainty about the true image and status of man. Amidst the bewildering assortment of styles and schools, which sprang up at this period, it is possible to find only one common feature; the search for an authentic form of expression.